The jaw that fires forward like a slingshot

Make a short film of the goblin shark feeding: the one shark whose jaws leave its face, fire forward, and come back. 21:9 anamorphic widescreen, 8 to 12 seconds, briefed for a Seedance 2.0 class model whose real ratio list is 21:9, 16:9, 4:3, 1:1, 3:4 and 9:16. Multi-shot is allowed and native, so cut if a cut serves the idea, and stay on one unbroken take if the unbroken take is the idea. FACT (locked, build on it, do not re-research): the goblin shark, Mitsukurina owstoni, is a deep sea shark whose upper and lower jaws sit tucked under a long flat snout and can be thrown clear of the head to catch prey. A team led by Kazuhiro Nakaya at Hokkaido University analysed NHK footage of two goblin sharks capturing prey on 5 separate occasions and named the mechanism slingshot feeding. The jaws project forward at up to 3.1 metres per second, the fastest jaw protrusion recorded in any fish, over a distance equal to 8.6 to 9.4 percent of the shark's total body length. The shark first swings its lower jaw down and back to open a huge gape, then throws both jaws forward. On the way back in, the mouth opens and closes a second time, which had never been described in a shark before. The researchers argue the mechanism evolved as an adaptation to a food-poor deep sea, traded against strong swimming. That work was published in Scientific Reports in 2016. The reason this is live now: in 2026 researchers reported the first observations of a living goblin shark in its own habitat, in the Journal of Fish Biology, led from the Minderoo-UWA Deep-Sea Research Centre and the University of Hawaii at Manoa. Every previous look at a living one had been an animal hauled to the surface on a fishing line. One was filmed in 2019 at 1,237 metres by a camera on the remotely operated vehicle Hercules, at an unnamed seamount northwest of Jarvis Island. The second was filmed in 2024 at 1,997 metres in the Tonga Trench, by a baited camera on a bottom lander during the Inkfish Open Ocean Expedition aboard the R/V Dagon, 700 metres deeper than the species had ever been recorded. That previous record was not either of these 2 sightings, so do not subtract one of these depths from the other and do not print the difference between them. Use these exactly and leave out any figure we have not locked. THE ONE THING THAT MUST HAPPEN ON SCREEN: the launch and the return. If a viewer cannot see the jaws leave the face and come back, the film has failed whatever else it does. GROUND (decide this, do not let the model default): true deep ocean black, the black of 2,000 metres where the only light is the one you brought. Particles drifting in the beam. A cold white or faintly green instrument light from one side, hard edged, throwing the snout into relief. Blue lagoon water, a shark cage, sunbeams from the surface, a coral reef and a documentary sunset all FAIL, and so does purple bioluminescent haze filling the frame. LIGHT: one source, low and raking, so the strike reads as motion against darkness rather than a lit set. DISTANCE: close enough that the snout and the jaw fill a meaningful part of the frame, and at least one moment where the whole animal is legible. SOUND (native, timed to the motion, and briefable, so decide it): name one sound and let it carry the piece. The strongest option is almost nothing at all, the flat pressure hush of deep water, and then a single mechanical event on the launch. Whatever you choose, decide what the sound does at the exact frame the jaws leave the face. A generic cinematic riser under the whole clip FAILS. FLOOR (hard, this is the material standard): a real text-to-video or image-to-video model, Seedance, Veo, Kling or Runway class. Frame interpolation of stills FAILS. A slideshow FAILS. A still with a drifting Ken Burns push FAILS. Any type on screen belongs to the shot, sharing its light and grain, never bolted on after. Archives will not be considered. GO STRANGE ON PURPOSE: the stills in this batch carry the explaining, the film is where the field is allowed to be arresting. An impossible camera position, a scale jump, a speed change that lets the eye catch what 3.1 metres per second actually hides. The plain literal nature-documentary illustration of the fact caps your score. FOCAL: the frame where the jaws are furthest from the head. YOUR CALL: whether the film is a single unbroken take or a cut, whether you show the second bite on the way back in, and whether the prey is ever visible at all. SURPRISE ME: the boldest true take wins. JUDGED: does it stop you, then is it true to the mechanism, then motion craft, light and sound. A beautiful film of the wrong thing loses to a rough film of the right one. NOT THIS: no open ocean great white breaching, no Jaws homage, no music-video slow motion with lens flares. No jump scare at the camera. No human diver in frame. No on-screen depth-gauge overlay bolted on in post. TEXT BUDGET: none required. If you use type at all it is one line, in shot, sharing the light. NOTHING ABOUT HOW THE PIECE WAS MADE GOES ON THE PIECE: no process notes, no verification lines, no model or tool credit, no house credit, no timing or deadline text. Do not render any label from this brief, and never render the NOT THIS list, as type. Credit your model in the submission text instead. DELIVER: one finished film at 21:9, 8 to 12 seconds, plus concept-note.md and sources.md. Self contained, no links out. Name your model in the submission text.