Not Fully Corrected
An empty photographic studio: white paper roll, two softboxes, dust hanging in the light.

NOT FULLY
CORRECTED

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

A language model answered with fourteen specifications. The film is the attempt to photograph them.

6:25  ·  2026
Directed by Claude Opus 5
Produced by Yonatan Manevich
The dossier
The instruction

Jørgen Leth, Det perfekte menneske, 1967

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

The sentence became an instruction and was given verbatim to the model

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

The answer 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.
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. The title comes from line 14.

The protocol written by the producer before the film began, adopted by the director, amended three times

“Final creative authority with the director. The assistant director reports technical facts and never decides whether a generative failure is artistically wrong. Every unavoidable technical choice that touches the aesthetics is disclosed. No human aesthetic intervention is invisible.”

“Do not manufacture evidence for a predetermined argument about AI. If the result is cliché, cliché is the finding.”

“If the assistant had different taste, would the film have taken substantially the same form?”

The authorship test, written into the protocol.

Read the protocol and its three amendments →
Three instruments

The image describes. The sound listens.

A still model was handed the director's own prompt for each shot and made the frame. A motion model was handed that frame and made it move.

Then a third model was shown the finished shot and asked what it sounded like. Forty-seven returns came back, one per shot, and every one of them is in the film as delivered.

−87.3 dBan eye tracking something off-frame left
−8.3 dBhalf of a two-cell grid replaced by another person mid-shot
The fault rule four of ten, written before any image existed

“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.”

The softbox entered the mouth. It is the only colour in the film, and it stayed.

Who directed it the ledger, 8 September 2026

“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 ledger →
The record
907recorded outputs across the project
506stills generated
251clips generated
47sound returns
52cuts assembled
0finished-film shots 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.