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Human languages follow a logical progression, reflecting that we experience time from past to future. However, heptapods’ sentences do not unfold step-by-step, but convey ideas all at once, reflecting their ability to experience time as a whole. And as for writing, referring to the text, ‘Their script isn’t word-divided; a sentence is written by joining the logograms for the constituent words. They join the logograms by rotating and modeling them.’ A single stroke can represent multiple parts of a sentence at once, and the sentence is constructed with the entire meaning in mind from the beginning. This is totally different from the human way of communication. 

Human writing systems mirror our perception of time. The heptapods’ physical structure is radically different. Their bodies are radially symmetric, with multiple limbs and eyes that allow them to perceive in all directions at the same time. They do not perceive the world in the same way as we humans do. 

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Ritchin’s discussion of the erosion of boundaries between fact and fiction hits particularly close to home. In a world where deepfakes and manipulated images are increasingly mature, it becomes difficult to trust what we see. His warnings about the loss of authenticity in images were really impressing, especially in the context of journalism. 

As consumers of media, we rely on photographs to provide evidence of events. But as Ritchin points out, this trust is becoming more unstable. This makes me question how often I unknowingly consume images that may not be authentic, especially in news contexts where the stakes for truth are high.

One aspect of the book that really stood out to me was Ritchin’s exploration of how digital images can construct, rather than capture, reality. This concept forced me to think about how I engage with images on social media, where filters and editing tools are ubiquitous. 

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• The Unbroken Belief

The unbroken belief of documentary is that documentaries are a reflection of realty. This “belief” reflects an old ideal, where documentaries were seen as inherently truthful and should not be divorced from reality. However, Steyerl argues that this belief is a myth. Even though documentaries are often seen as objective, they are still strongly affected by the filmmaker’s decisions, editing choices, and framing techniques. Documentaries are not completely realistic, they also have a subjective preference from their creators

• Truth & Fiction

In films “based on a true story,” truth provides a grounding force, or background. Real-life events give these narratives a sense of authenticity, encouraging audiences to engage emotionally with the story. As for fiction, creative ideas are often taken to enhance dramatic scenes. The creators migh change certain details to make a impressive impact. 

In turn, fiction can reveal truths that factual storytelling sometimes cannot. For instance, fiction can explore the emotional landscape of an event without being limited by specific details. 

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• Rules and Solutions

//Obstruction 1:  Leth must remake 'The Perfect Human' in Cuba, with each shot limited to no more than twelve frames (about half a second). 

--Solution: Leth creates a lively reinterpretation in Havana and showcased the colorful environment. He finds creative solutions to keep the pacing dynamic despite the restriction.

//Obstruction 2: Leth is asked to film in what he perceives as the "worst place on Earth" but cannot show any misery. 

--Solution: Leth chooses the red-light district in Mumbai as his location but interpreted it beautifully. This obstruction forces him to interpret the setting without directly addressing its harsh realities.

//Obstruction 3:  Von Trier gives Leth two options: either completely remake 'The Perfect Human' with total freedom or follow an obstruction of Von Trier’s choosing.

--Solution: Leth chooses freedom and makes a short in Brussels. 

//Obstruction 4: Von Trier asked Leth to make it animated.

--Solution: Leth collaborates with animators to create a partly animated version, which is a huge difference from his previous work. This made Leth try to do something that he was unfamiliar with, which can help him to explore more possibility. 

//Obstruction 5: Von Trier asks Leth to remake 'The Perfect Human' as a voiceover, using a version of the film that Von Trier has created himself. Leth is required to read a script prepared by Von Trier.

--Solution: Leth's read the narration written by Von Trier. 

• Reflections

Each remake of 'The Perfect Human' reflects Leth’s resilience and adaptability. Also, this indicates different and various possibilities of a work through the limitation of each obstruction.

I find it very intriguing to complete entirely different works by imposing limitations set by others. In our course, there are also many constraints set on our designs. I didn’t understand at first. Because with those limitations, I usually feel miserable and confusing about how to start with my work. But now I think I do understand. Limitations on art are also a way to stimulate creativity and imagination. Working within constraints to make a piece the best it can be is both a challenge and a breakthrough for oneself. The film is a meditation on the nature of art, the role of the artist, and the strange beauty that can emerge when we are forced to work within boundaries we didn’t choose.

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