Roughly fifty minutes into Leviathan (Lucien Castaing-Taylor and Véréna Paravel, 2012), the camera temporarily pauses in a moment of intimacy: locking eyes with a decapitated fish. Until this point, the film's shaking frame coupled with its poor image quality foregrounded how bodies (human, non-human; alive, dead or dying) become blurred into an amorphous, anonymous assemblage (Fig. 1). In Leviathan, fish are reduced to a monolithic natural resource, violently extracted as fuel for a modernist grid.¹ However, as the spectator stares into the eyes of this specific fish, there is a small moment of respite. Here, the spectator encounters a fish in its singularity. A singular non-human animal seems to “look” at you.

中文翻译：

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两只猫，一条鱼：动物、利维坦和理论的极限

在《利维坦》（Lucien Castaing-Taylor 和 Véréna Paravel，2012 年）大约 50 分钟后，镜头在亲密的时刻暂停：与被斩首的鱼对视。在此之前，影片的摇晃帧加上其低劣的图像质量突出了身体（人类、非人类；活着、死去或垂死）如何变得模糊成一个无定形的、匿名的集合（图 1）。在《利维坦》中，鱼被简化为一种单一的自然资源，被猛烈地提取为现代主义网格的燃料。¹然而，当观众凝视这条特定鱼的眼睛时，会有片刻的喘息。在这里，观众在奇点中遇到了一条鱼。一种奇异的非人类动物似乎在“看着”你。