The film Titane (2021) by Julia Ducournau stages the radical alteration of the human body in highly transgressive ways. The fictional drama about the search for belonging and identity not only renegotiates concepts such as family, gender and corporeality, but also questions the fundamental boundary between man and machine. This contribution takes up the productive impulses of Ducournau´s cinematic work and thus reconstructs an original vulnerability and dependance of human beings to one another (sociality), but also to technical aids (prosthetics). It is the subcutaneous proximity of metallic objects and the unexpected procreative power of technological artifacts as the basis of the subjectification processes of central characters in the film that function as a starting point for thinking about the genesis of the human being itself as a technological product - ‘as an invention instead of an inventor’. In order to validate this technogenesis as a central mechanism for becoming-human posthumanist theories and neo-materialist concepts are being applied.