Private Project

4D Sedimentation

Within an uninterrupted gaze, time ceases to function as a linear flow and emerges as a physical sediment, accumulating in stratified layers.

Disparate years, daylight conditions, and events converge upon identical spatial coordinates, revealing the coexistence of temporal states that have never truly disappeared.

  • CHIH HAO SHEN
    Director
  • CHIH HAO SHEN
    Writer
  • MFX Films
    Producer
  • Project Type:
    Documentary, Experimental
  • Genres:
    Creative Documentary, Experimental Documentary, Hybrid Doc
  • Runtime:
    12 minutes 41 seconds
  • Completion Date:
    June 9, 2026
  • Country of Origin:
    Taiwan
  • Country of Filming:
    Taiwan
  • Language:
    No Dialogue
  • Shooting Format:
    Digital
  • Aspect Ratio:
    4:3
  • Film Color:
    Color
  • First-time Filmmaker:
    No
  • Student Project:
    No
  • Digital Cinema Package:
    Unavailable
Director Biography - CHIH HAO SHEN

Chih Hao Shen is an animation and documentary filmmaker whose work explores human existence, memory, and time through restrained visual storytelling.

His debut work received recognition from the Rhode Island International Film Festival. His short film 10 Seconds was selected by the 2026 In the Palace International Short Film Festival, Fantasporto, and Asolo Art Film Festival. His documentary YinYang Sea won the Grand Prix at the 2026 Asolo Art Film Festival.

His projects have been presented in international industry contexts, including Clermont-Ferrand, Visions du Réel, Cannes Short Film Corner, Short Shorts Film Festival & Asia, and Oberhausen.

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Director Statement

We treat surveillance footage as a form of cold, continuous observation rather than narrative evidence.

Filmed at the same intersection across different years, the material returns repeatedly to identical spatial coordinates. Through editing, these recordings are assembled within a shared temporal window, where day and night, traffic and stillness, accident and absence are placed side by side without causal hierarchy.

I am interested in how repetition alters perception—how time, when detached from a linear sequence, begins to appear as layered presence rather than passing event. The act of cutting between different years becomes a way of exposing these invisible overlaps embedded within the same location.

Rather than reconstructing an event, the film observes how a fixed point in space accumulates different temporal states, each one coexisting without resolution.

This work is an attempt to remain within that observation.