Mel Chen’s book Animacies (2010) departs from the linguistic debate around “animacy”, which refers to the investment of certain objects with animatedness, or liveness. She notes that the line is often drawn though the split between human/non-human. The composite term ‘tranimacies’ refers in my paper to the intimacy of animals and transgender bodies within animation. I investigate how the art form of animation is being used as a technology crucial to “re-animating” trans bodies. My cases are short contemporary films from North America in which stop-animation is used to demonstrate the morphing qualities of bodies that transform in defiance of human or inhuman animal, from breast to bird or deer to boy, for instance. My paper seeks to contribute a film philosophy approach to studying those visualizing practices that affect the capacity of animation and transgender embodiment.