This thesis is about a new genre of film that has become popular and wide spread in mainland China, called microfilm. Although the definition has not been clearly set by any one authority in China, we can find references to it and see how others define microfilm. After studying the background of how microfilm has come into being and researching materials about what other people think about microfilm, I develop my own definition. This definition is based on interviews with Chinese filmmakers on the subject, and research regarding popular ideas about microfilm in China. This thesis involves methodologies, from in-depth interviews to specific case studies, that are used to develop a better understanding of the popularity of microfilm in China. One of the most important issues is the difference between traditional movies and microfilm. In comparing them, we can better know what makes microfilm distinctive. The main part of this thesis is analyze the structure, plot, and themes in order to find out how different approaches generate different viewing experiences for audiences, and influence how they rate them as well. Two representative examples of Chinese microfilm: "The Ryan Initiative" and "The Old Boy" are the focus of this thesis. Besides introducing the content of the film, I also analyze the narrative approaches of each film to try to discover why these two films were so welcomed by Chinese audiences. As an art form, microfilms employ aesthetics that are also important. These aesthetics are not only considered by the audience but also by filmmakers and scriptwriters. So as academics we must also study the relationship between aesthetics and the popularity of this particular art form. Finally, I use my experience with microfilm productions and interviews with filmmakers to make conclusions about the future of microfilm in China