The year is 2006, and the scene before us is replete with satanic imagery. A woman sits in a room by herself, completing a painting. The title, along with the many props and the character before us, has already provided the viewer with a horizon of expectation as to the direction the story might be headed in. The rest of the narrative becomes a visual progression of the ensuing journey towards the achievement of the same destination. 
The film plays around with the limited space of the same room, and ties it with art to conjure its world for us. As the ritualistic proceedings develop, all of this is brought to life and presented to the viewer to engage with.

Damnation | Short Film Nominee

Eleventh Hour begins with a quote – “True redemption is seized when you accept the future
consequences for your past actions.” 
It is the kind of film that constantly underscores a grave tension in the narrative. The cinematography
follows each gesture and movement of the protagonist, pervading the scene with a sense of suspicion
and foreboding. The viewer is constantly kept on their toes through this mode that makes one anxious
as to what the next move could hold. 
It seems like not a whole lot is happening in the film until after the first half. Then, there is a murder. By
this time, however, it is no longer shocking for the audience, because that sense of the sinister has been
suffused into the narrative from the start. It also seems like the cause or reason for the murder was
never the main concern of the film. Its intention seems much more to mould itself around the film noir
form.

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