The chapter explores the ways in which the cinemanimal is constituted as the animal-image in Claire Denis’ horror films, grounding the discussion in Nicole Shukin’s concept of animal rendering, Gilles Deleuze’s philosophy of film image, and François Laruelle’s understanding of radical immanence. The cinemanimal, as the radical immanence of the animal and film, is materialised through the animal-image in the form of the animal continuity and animal cut, and it reflects the current bio/zoe-political organisation of life. Animal continuity refers to the way in which film material is organised by establishing causal relations between frames, shots, and sounds, with animal bodies and sounds being used as a means of naturalising the film environment. It is, therefore, of particular importance to film analysis, and such a form of animal-image is shown to structure Denis’ horror film Trouble Every Day (2001). The animal cut, on the other hand, disrupts such processes by demonstrating the agency of the cinemanimal. However, High Life (2018) appears to contain only a limited unilaterality of the cinemanimal’s agency, while pointing towards the pure animal-image based on a unilaterality of radical immanence beyond the ontological, aesthetic, or political reach of human animals.