This chapter analyses Agnès Varda’s intermedial experiments in The Gleaners and I (2000), focusing on how her film transforms artworks in defamiliarizing ways. The author explores defamiliarization (ostranenie) as an affective process, arguing that the defamiliarizing transformations of artworks in The Gleaners and I provoke renewed attention to the materiality of art and intermediality. Crucial in Varda’s film is the embodied performativity of intermedial practice: the artist (filmmaker) is positioned not outside but within the world that she observes: Varda touches artworks with her hands and re-enacts paintings. The transfer and transformation of images across media is not a disembodied process. Drawing upon new materialist thought, the author suggests that the corporeal re-enactment and reworking of images as well as the artist’s multi-sensory embodied engagement with reproductions evoke a striking feeling of strangeness in a way that lends familiar material things the quality of uncanny vitality. Thus, with its focus on embodiment, Varda’s intermedial practice invites the viewer to participate in an affective attunement to the lively material world.