From the anatomical plates of the first treaties of entomology of the Renaissance (Muffet, Hoefnagel, Aldrovandi), the insect is less an objective animal than an experience of the vision inviting the man to forsake his human look for regimes of irreverence and “irreference”—to take back these two famous words of Dominique Noguez about the experimental cinema—by which the reader-spectator was asked to situate himself somewhere between his conscience and the place of the enlarged insect, in a test of shrinking. This text proposes to traverse the contemporary history of experimental cinema, it is above all a scientific poetics in search of insect-images, from essential classics such as Stan Brakhage’s Mothlight (1963) and Paolo Gioli’s Farfallio (1993) to more recent films such as Momoko Seto’s Planet ∑ (2014), Thierry Knauff’s Vita brevis (2014) or Pierre Huyghe De-Extinction (2014).