"For me it presents an especially vivid exploration of how order can give way to chaos in a slow-motion tableau over which no one seems to have any control. During the excruciating nine minutes of the film, the entire contents of the room come apart and collapse to the floor, which I describe as follows:

A dusty wind is blowing. A living room contains a table and a chair, a lamp is hanging above, and a cupboard and some other furniture complete the room’s decor. Some smog arises, slowly and inevitably depriving the room of its supposed intimacy, revealing a nondescript and barren place to be restored only via construction work to reassemble its fields. After five minutes, everything starts to collapse in extreme slow motion. The lamp is swinging, the chair falls, the wind blows the table. Everything starts to move, disappears, or becomes unrecognisable. The nicely furnished room seems to belong to the distant past.

In this disrupted world, seconds take minutes as the temporal field is more and more dilated.
As I experienced the film—its sights stimulating my feelings and ideas—I realised the room could be a person’s identity, with the irresistible wind representing layer by layer chronic trauma’s excruciating, drawn-out effects on identity. I was seeing, feeling, and realising how gradual decoherence leads to a harrowing impact that blows apart identity, destroys the unity of the old self, and transforms order into chaos and destruction—’things fall apart; the center cannot hold’. In this metaphor the ‘center’ whose task is to hold together the individual identity is the self, caught in the matrix of identity fields being assaulted by the perpetrator" (in Dijkstra & Van Pelt, submitted article in concept, Trauma and Identity:
Field Decoherence and Pathways to Recovery).

https://vimeo.com/97130326