Private Project

Sisyphus at One Millimeter

A continuous observation follows a snail moving through grass, where different temporal scales unfold within the same space, shaped by the coexistence of urban sound and imperceptible movement.

  • CHIH HAO SHEN
    Director
  • CHIH HAO SHEN
    Writer
  • MFX Films
    Producer
  • Project Type:
    Documentary, Experimental
  • Genres:
    Experimental, Creative Documentary, conceptual documentary, Documentary, observational cinema, durational observation
  • Runtime:
    8 minutes 48 seconds
  • Completion Date:
    June 5, 2026
  • Country of Origin:
    Taiwan
  • Country of Filming:
    Taiwan
  • Language:
    No Dialogue
  • Shooting Format:
    Digital
  • Aspect Ratio:
    16:9
  • 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

This work emerged from a sustained act of observation.

The film follows a single continuous movement: a snail moving through grass, recorded in real time without narrative intervention or constructed events.

Within this situation, different temporal scales unfold simultaneously. The surrounding environment carries a constant urban presence, while the movement of the snail progresses at a speed almost imperceptible.

As the observation continues, attention gradually shifts from the subject toward the relationship between movement, duration, and perception. Eventually, the snail leaves the frame, but the space remains active, with smaller forms of life continuing to move within it.

The film is structured around sustained attention rather than narrative or explanation, exploring how perception changes when duration exceeds familiar limits.