This paper explores small-file cinema as media art that helps to decenter human scale as the master scale for understanding the world. Beginning with a short case study of the 1977 film Powers of Ten by Charles and Ray Eames I establish how the standard scientific measurement maintains the human as its primary scale of measurement. As Zachary Horton argues, the primacy of human centred scale imposes “the scale of the rational,” which emphasizes human exceptionalism and applies a universalizing worldview (Horton 2017). As a model that subverts this anthropocentric mode of thinking, small-file cinema reorients our cinematic gaze at the level of the pixel. Small-file media is a creative tactic invented by theorist Laura U. Marks (2020) to respond to the carbon footprint of the information and communication technologies (ICT) that encompass the internet, in particular, streaming media. Through a variety of aesthetic and filmic techniques, small-file cinema intervenes in the rising carbon footprint of streaming media by the creation of low bandwidth films that stream at no more than 1.44 megabytes per minute. Small-file media provides an outlet for artists, filmmakers, and environmental activists to explore the constraint in file size through experiments with composition, camerawork, compression, glitch aesthetics, audio, and duration to speculate opportunities for energy efficiencies that do not compromise cinematic aesthetics. Not sharing in the luxuries of their large-file, bandwidth- and energy-hungry counterparts, complexity is revealed in the proliferation of minutiae onscreen. As audience members our perspective moves outwards, from the molecular towards the molar, towards an understanding of the world in its completeness.