Walls Have Feelings delves into the ecology of objects and their appearance, in order to expose the links between socio-political events, which shape contemporary life and subjectivity. The film - partly developed during a residency at Rupert - opens onto the microcosm of dictators’ offices, presenting their architecture and interiors, including small desk accessories, which reappear in different scenarios. Newly-filmed scenes alternate with close-ups and landscapes views from sourced images and found footage, gradually unveiling the protagonists of the film: office rooms and walls, which contain, hide and reinforce invisible forms of power. Powers, which stemmed from industrial capitalism and political dictatorships, and which in turn influenced the current neoliberal-type of economic production. She exposes connections between subjects in a non-linear way, jumping vertiginously, with cunning editing techniques, to different historical moments, which she makes reverberate in our shared present. The film in fact references labour activities, echoing both present and past, corporeal and cognitive, forms of exploitation. It mixes familiar scenes of workers leaving the factory, laboratories producing all-too-human robots, and the works of artists themselves, which all together creates a navigable, hypnotic loop. Instead of adopting objects as devices ‘to think with’, like a cup of coffee, she is evoking their animist power, delving into something that is embedded in them.