Abandoning the unmapped jungles that serve as stock scenarios of cannibal horror, Julia Ducournau’s 2016 film, Raw, wrings ethnographic drama out of the spaces of exception carved out in the conventions of university life. Ducournau’s chosen context of veterinary school invites reflection on the exploitation of animals in social ritual—and in horror, the most ritualistic of film genres. Tracing Agamben’s probing critique of the internal rift that configures the human animal, this chapter reads Raw’s brutal tactics in light of film history’s enduring animal tropes to ask how horror forges deeper continuities between human and animal experience. Raw imagines the discreet aversion of the humane—which depends on relations with animals to mark our distinction from the same—as outright hostility. Inflicting unnecessary pain, the film advances horror’s “inhumane” mission, delivering scenes of animal surrogacy and sacrifice that derive surreal dread and sexual confusion from the unstable substitutive relations between human and animal. These bonds are enacted in cuts that cleave the film, severing and fusing at once—work that plays out in metaphorical substitutions, as with practical effects that use animal products to render a carnal vision of human interiority, or in an associative montage that cuts away from the human and cuts into the animal—to forge metonymic continuities with animal proxies.