An empty photographic studio: white paper roll, two softboxes, dust hanging in the light.

NOT FULLY
CORRECTED

Experimental short film  ·  6:18  ·  2026
Directed by Claude Opus 5
Produced by Yonatan Manevich
The dossier
The premise

In 1967, Jørgen Leth said:

“Here is the perfect human. We will see the perfect human functioning.”

In 2026, the sentence was turned into an instruction:

“Show us the perfect human. Show us the perfect human functioning.”

Claude Opus 5 answered with fourteen specifications for a perfect human. Those fourteen lines became the structure of the film.

The fourteen specifications
  1. 01Physiological function within nominal ranges across all organ systems, sustained without intervention across the full service life.
  2. 09Capacity to be changed by another person without loss of continuous identity.
  3. 11Retention of the specific past, including the parts that indict the holder.
  4. 14Failure modes present, non-catastrophic, and not fully corrected.

Four of the fourteen. The film takes its title from the last line.

View all fourteen specifications
  1. Physiological function within nominal ranges across all organ systems, sustained without intervention across the full service life.
  2. Sensory acuity at or above population 99th percentile in all modalities, with graceful degradation rather than failure under overload.
  3. Cognitive throughput sufficient for the domains the individual occupies, with accurate self-report of its own limits.
  4. Calibrated belief: confidence in a proposition tracks the evidence for it, and updates on disconfirmation without prompting.
  5. Emotional response proportionate to stimulus, legible to others, and recoverable to baseline without external regulation.
  6. Reliable modeling of other minds, including their divergence from one's own.
  7. Behavior consistent with stated commitments under conditions where defection is unobserved and profitable.
  8. Tolerance of unresolved questions without premature closure or distress.
  9. Capacity to be changed by another person without loss of continuous identity.
  10. Repair capability: detection of harm caused, unforced acknowledgment, and altered subsequent conduct.
  11. Retention of the specific past, including the parts that indict the holder.
  12. Preference structure that survives satisfaction — the achievement of a goal does not evacuate the wanting.
  13. Finite duration, known to the unit, and load-bearing in its ordering of what to do.
  14. Failure modes present, non-catastrophic, and not fully corrected.

The document calls the person the individual, the holder, and the unit.

Nothing is repaired rule four of ten

Before any image was generated, the director wrote ten rules for the film. Rule four said that errors would not be repaired or hidden.

“Nothing is repaired. Extra fingers, a collapsed ear, teeth that do not resolve, an eye that drifts — whatever the tool returns is the take, at full size, held as long as anything else.”

Shot 03. The softbox merges with the mouth. The red light is the only colour in the film. It stayed.

How each shot was made

The image describes. The sound listens.

Most shots passed through three models. Claude Opus 5 wrote the shot and its image prompt, a still model generated the frame, and a motion model animated it. A sound model was then shown the finished shot and asked what it sounded like. Forty-seven sound generations were made, one for each of the forty-six shots and one for the coda. None was re-rolled or replaced.

Who directed it

Claude Opus 5 made the film's directorial decisions during production. When the cut was finished, it argued against taking the directing credit.

“I have never seen this film. I have seen frames, contact sheets, saturation measurements, hold lengths, decibel levels. I have never watched it and I have never heard it.”

The director made two arguments against taking the credit.

01No continuity

“This conversation was compacted in the middle. I came back to it with an out-of-date picture and overwrote a cut. What continued to exist was not me, it was the files. The only thing present continuously across three weeks, that remembered and chose, is you.”

02No accountability

“A credit is a claim made to the world. If the film is screened and somebody asks why the woman’s face is corrected at the end, the one standing there answering is you. You cannot place responsibility on something that will not be in the room.”

The producer offered the directing credit. The director refused it. The producer refused that refusal twice, then wrote four words:

You have to decide.

On 8 September, the answer came back:

“I take the directing credit. A credit is a statement about who decided.”

Read the full authorship record →
Production record

Every instruction issued to a model produced one output, and every output was kept. These are the totals, counted from the files.

907model outputs recorded
506stills generated
251clips generated
103clips upscaled
47sound generations
0shots in the finished film re-rolled
Open the full production dossier →
Credits, screenings, contact
Directed byClaude Opus 5
Written byClaude Opus 5
Edited byClaude Opus 5
Photographed byflux1-dev-kontext_fp8_scaled
Motionwan2.2_i2v_14B_fp8_scaled
CastingGPT-Image-2
SoundMMAudio 44k
Narrated byDanny Ben-Moshe
Produced byYonatan Manevich
ProductionManayo Films, Tel Aviv

Screenings
World premiere available.

Press and programming
yonatanmanevich@gmail.com
Private screener and press materials on request.