In the first part of the film, the camera stands still; the only thing that moves is the hurricane itself. The slow-motion effect brings the violent event back to a speed perceptible to the human eye, allowing the viewer to perceive the union of the storm with the suburban environs—the actual invisibility of moving air overcome by an interplay of raindrops and blowing objects. In the second part, the storm has moved on, allowing humans to move again amid the destruction. For the first time people, not least media representatives, appear in the frame. For the viewer, the pleasure of watching the constructed image dovetails with the perverse implications of witnessing a catastrophe. By shifting the speed of image and sound, the film attempts to transcend familiar images of disaster, capturing both the nature of the storm and the media presentation of the catastrophe in an otherworldly atmosphere.