Flooded Office Surrealism Cinematic

Use the attached image as the exact first frame. Do not regenerate or restyle the face — keep the same girl, same blue goggles, same skin, and crucially keep the same heavy 35mm film grain texture of the original photo throughout the entire video, on every frame. At the very start, the girl rises slightly so her mouth and chin lift just above the waterline into the pose shown, water sheeting and dripping off her face and goggles, ripples spreading around her. She then holds that exact position — calm, deadpan, nonchalant, eyes steady behind the goggles, never reacting, totally unbothered. Her face stays stable, natural, and anatomically correct the entire time, no warping or distortion. The camera pulls back smoothly and steadily in one continuous unbroken shot, drifting backward and slightly upward, her face shrinking in the frame as more of the scene is revealed around her. The pull-back uncovers that she is floating calmly in the middle of a flooded fluorescent-lit office breakroom in total chaos — knee-to-waist-deep churning water filling the room, dozens of office workers in business clothes panicking all around her: people scrambling onto a vending machine, leaping from tables, climbing the walls toward the ceiling tiles, wading and falling through the water, hauling each other up, papers and plastic chairs and a floating monitor swept up in the surge, water gushing in through a doorway like a waterfall along the back wall. She remains the one still, calm point at the center of the panic. Every face in the video remains anatomically correct, stable, and realistic at all times — natural human proportions, clean facial features, genuine readable expressions of fear and panic. No melting, no warping, no distorted or smeared faces, no extra or misshapen eyes or mouths, no uncanny morphing as people move. Everything moves continuously: the flood water churns, sloshes, and reflects the harsh ceiling lights, spray flies, the panicking people thrash and climb and scramble in motion, hands reach up out of the water, debris floats and bobs, the doorway waterfall pours steadily, fluorescent light flickers on the surface. The camera keeps gliding back to take in the full wide chaotic scene. Sickly institutional palette throughout — seafoam green walls, cream, muted teal, harsh fluorescent white, cold reflective water. Consistent heavy analog film grain and 35mm photographic texture baked into every frame from start to finish, matching the grain of the source image, never clean or smooth, never digital-looking. Flat overhead light, absurd deadpan calm at the center against frantic drowning panic around it, smooth steady continuous camera motion, cinematic photorealistic, ultra-detailed.