This article analyses Mathew Barney’s 2005 experimental film Drawing Restraint 9 in the context of affective entanglements of the human body with biological, technological and geological processes. The artist’s production, as the paper proposes, indicates the neces-sity to rework the heightened hierarchical relationships of humans with non-human worlds. The bodies in pain—both human and non-human—in his work undergo constant morphogenesis, becoming a complex multiplicity with multiple layers of reference far beyond the human-social paradigm. As the paper implies, by referring to the writings of Gilles Deleuze and Felix Guattari and their new materialist theoretical reworkings, Bar-ney’s film reveals unfolds the sustainability of interconnections and intra-actions of differ-ent matters that produce forms of socio-cultural resistance, eventually opening up possi-bilities of bodily regeneration.