‘Never Ending Shi(f)t’ traps viewers into the abyss of workplace horror, a genre seldom explored with such raw intensity. Directed by Thomas Webber and co-written with Hugo L. V. E Oliveira, this short film employs the gritty realism of super 8mm to amplify its claustrophobic atmosphere. The film is produced in the Korean language (with English subtitles).

From the moment Miriam (Sharon Cho) steps into the elevator, there’s an uneasy sense of dread. Her sanctuary, a lone elevator ride intended to be a brief escape from the relentless grind, is shattered by the intrusion of her co-workers. The elevator, a microcosm of workplace politics and personal boundaries, becomes a battlefield of psychological torment. Cho’s performance is a masterclass in subtlety; her silent pleas for personal space, her strained composure, and the escalating panic are palpable.

Victor Alencar Silva’s cinematography deserves special mention. The use of super 8mm with in-camera editing is a stroke of genius, giving the film a grainy, almost voyeuristic feel. This raw style is crafted to heighten the sense of confinement, making the audience squirm in their seats as Miriam’s anxiety reaches a fever pitch. The absence of digital editing lends a raw, unpolished edge that is both unsettling and captivating.

The brilliance of ‘Never Ending Shi(f)t’ lies in its ability to resonate on a visceral level. We’ve all experienced that suffocating feeling of having our personal space invaded, and Webber captures this universal discomfort with chilling precision. This is a psychological exploration of modern work culture’s relentless encroachment on personal time and space. Bold, intense, and unapologetically experimental.