Three conditions of becoming-image weave their way through this analysis in a consideration of violence as an ethical imperative with respect to the experimental sensate cinema of French filmmaker Philippe Grandrieux, in particular, his second feature La Vie Nouvelle (2002). The weave of movement, rest and proximity tighten, in suggesting violence as an ethical moment in our becoming-image. This paradoxical critique of an ethics of violence eventually finds an arresting moment in proximity of the image-experience through its ontological montage structure as that continuous passage of our existence as proximate beings. With a critique of telecommunication and networked information technologies as those delivery systems for pain at a distance, we locate in Grandrieux something arresting that testifies to the impossibility of being elsewhere. All image encounters today, given their excessive presence, testify without alibi, without elsewhere as reference point, to the perpetuation of us as being in a middle (milieu) of an “immense clip” without end or establishment. Becoming imperceptible in the becoming-image of our material sensate being incepts three moments of imperceptibility: Deleuze and Guattari’s shadow-plane as chaos that envelopes us all for future possible people and earth; Grandrieux’s mutant-style productive of perpetual darkness; and Maurice Blanchot’s riveting thought on the artwork as that testimony to a without exit of our being in what he describes as le mourir or the “other night.” Together they weave something akin to a poetics of darkness on the thought of image and image of thought.