In this paper, I will analyze the encounter between animated sequences and live action sequences in movies such as Ari Folman’s Waltz with Bashir (2008) and Jean-François Laguionie’s Le Tableau (2011). Such an intermedial encounter has important narrative implications. For example, by being presented in as a metalepsis in Le Tableau, it raises interesting questions about the creative process and about the relation between fiction and reality. In Waltz with Bashir, it is used as a way to represent a traumatic event from the past.