Although the oil industry’s impact on the natural environment has been thoroughly studied, its effects on the human body have not been well established. This paper aims to investigate the embodied spatial experience in the petroleum industry through the art of cinema. Michelangelo Antonioni’s movie entitled Red Desert (1964) was chosen. It was filmed in the industrialized area of Ravenna’s port, one of Europe’s main petrochemical centers, since the discovery of oil and natural gas deposits in the Po River Delta. The protagonist, Giuliana, is a woman undergoing an emotional crisis, vainly attempting to integrate into this new industrial world. Six characteristic scenes of the movie were analyzed. The research tools of this study were the dipoles of haptic spatial qualities of (a) presence and absence, (b) distance and closeness, (c) balance and imbalance, and (d) attraction and repulsion. Each dipole of haptic spatial qualities was produced by cinematic techniques and styles of filmmaking such as montage, dead time, photographic filters, long shots and extreme long shots, close-up shots and extreme close-up shots, directing instructions, and sound editing. The haptic spatial qualities detected in the six scenes were the presence (Scenes 1, 3, 4, 5, 6), the absence (Scenes 1, 2, 3, 4, 5, 6), the distance (Scenes 1, 2, 5), the closeness (Scene 6), the balance (Scenes 1, 2, 5), the imbalance (Scenes 1, 3), the attraction (Scenes 2, 5, 6), and the repulsion (Scenes 1, 2, 3, 4). According to each character in the movie and the set in which he/she acts, the human body is presented in different states, such as adaptation, alienation, or disembodiment. Further research needs to be performed to highlight the embodied spatial experience in the petroleum industry in the future.