For the first obstruction, only 12 frames is allowed to be used, thus creating a quicker and more intense feeling. Compared with the original version which was presented in a black and white empty room, the one recreated in Cuba is more colorful, filled with much more elements, reducing the sense of nothingness and adding a touch of exoticness.

In the second obstruction, the background is more immersive and lively than the original version as it is shot in an out door setting. The transparent screen filtered the crowded environment and the camera was fixed, simulating/intensifying the sense of being watched and examined.

The third obstruction, Leth did not want complete creative freedom because in some ways that is more difficult than being given obstructions or rules to follow. More freedom means more options, more options means less guidance, and relying on your own creativity. However, returning to Mumbai would have possibly been dangerous, so he had to choose the option to have no rules; he remained in Brussels to film. This version features a split screen which was a new development from his previous explorations 

The fourth obstruction, which was also my favorite one, was referencing the visual effect/style of cartoon or animation. Using contrast color like green&red, orange&blue, with low purity & brightness to create a surreal sensation, making a clear line between real and imagination. This made the image more surrealistic and dreamlike with a lot of movements are abstract imagery and shifting perspectives. The voice-over is also surrealistic, with a disjointed and fragmented narrative that adds to the overall sense of disorientation and unreality. Also, it applied techniques like repetition and delay to stress the movement of the perfect human. Extracting specific scenes, using close-up technique, and present it in a small frame in the fullscreen image. For instance, revealing the face gradually, showing the process of making a perfect human which shows the nature of the perfect human. The dynamic camera angles create a sense of exaggerated energy and expressive movement. Additionally, a lot of words in some scenes and with multi-angle camera language which is metaphorical. In my opinion, the use of animation allows him to create unreal scenes that would be impossible to capture in live-action movies.

Lars von Trier already made the last obstruction, and Jørgen Leth does nothing except for being the director, which made him completely unprepared. He had to read scripts, which were announced as his opinion but actually was written by Lars von Trier. The narration goes on with shots from the production process of previous movies and conversations between Jørgen Leth and Lars von Trier.