Cinema has the capacity to change the overall speed of any filmed event in projection, and, by so doing, the quality of the movement under observation, something that is most strongly evinced in films and videos of living organisms. The remarkable images produced by slowing down, speeding up and reversing film led filmmakers and theorists to speculate on the degree to which duration is inherent to form, an issue central to processual pluralism. Using the Special Theory of Relativity as a starting point, Chap. 7 addresses the relationship between cinema and relativity, arguing that any account of relativity that addresses visible changes in speed must also consider how scalar and qualitative differences are underpinned by the lived time of observation. This idea is examined through the work of number of thinkers and concepts: Jean Epstein on film and scale, Bergson and his notion of the simultaneity of flows, Herbert Wildon Carr and the time microscope, Alfred North Whitehead on the passage of nature, and Raymond Ruyer on expressivité. These ideas demonstrate not only the importance of relative speeds in informing aesthesis but also how they provide a means for rethinking the relationship between metaphysics and aesthetics.