“We actually refer to the film as a ‘cursed fable’ or ‘dark contemporary fable.’” — Héctor Prats
Directed by Héctor Prats | Spain | 2024 | 12 min.
By Valerie Milano
Palm Springs, CA (The Hollywood Times) 6/28/25 – Héctor Prats’ short film Heaven Is Nobody’s is visually striking and conceptually rich, but for this viewer, it ultimately proves more perplexing than poignant. The film tells the story of a boy wandering through a decaying city in search of a cure for his ailing mother as a mysterious “dancing curse” consumes the streets. It’s a surreal parable rooted in mythology, personal history, and existential dread—and while it conjures a compelling mood, the storytelling often feels too opaque to fully land.
Shot in stark black and white, the film establishes an eerie, dreamlike tone from the outset. Prats, who directed, co-wrote, and even appears in the short, explained during our interview that he was deeply inspired by Greek mythology and fables: “Since I was a kid, I’ve always loved Greek mythology, all those myths have this determinist component, as if fate always comes back around. I was really influenced by that sense of inescapable destiny.”
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There’s no question Heaven Is Nobody’s is steeped in metaphor. The boy’s desperate search, the hypnotic dancing, the shadow-soaked city, it all suggests themes of addiction, loss, and the haunting persistence of trauma. But the film’s visual and narrative choices often render it difficult to follow. Many scenes are dimly lit to the point of near-invisibility, and the editing leans toward the abstract. As a result, even emotionally loaded moments feel distanced. “We shot in industrial areas of Bushwick and Brooklyn, places I’d explore on my bike at night looking for those ‘nowhere’ vibes… We lined our apartment set with hundreds of egg cartons for soundproofing and texture,” Prats shared.
There’s no denying the craftsmanship on display. The visual world is carefully composed and deliberate, and the sound design is immersive, blending industrial ambiance with a pulsating, almost ritualistic energy.
The title itself is borrowed from a song by Colombian artist Ella Minus: “El Telón Es De Nadie”, a phrase that can translate as “The Sky Is Nobody’s” or “Heaven Is Nobody’s.” “That song has this relentless, dark beat that just makes you want to move, and it felt like it captured the mood of the story,” Prats explained. “It just felt right for the world we created.”
The film’s themes, fear, illness, and the desperation to save someone, feel deeply personal even as the narrative keeps viewers at arm’s length. When asked if the story was autobiographical, Prats responded: “Not directly. But I did grow up in parts of Barcelona where drug addiction was very visible… I saw addiction’s grip on folks and the extremes loved ones would go to help them. I wasn’t personally involved, but I was fascinated by how something so dark from the outside can feel sacred or transcendent from the inside.”
This context gives the film additional emotional weight. Yet for all its ambition, Heaven Is Nobody’s may leave some viewers, like me, grasping for connection. The emotional core feels distant, shrouded not only in metaphor but in literal darkness.
Verdict
Heaven Is Nobody’s is an admirable exercise in atmosphere and allegory, a poetic visual riddle that may resonate more with fans of experimental or mythic cinema. For others, it may feel too impenetrable to fully invest in. There is talent and vision here, without question, but also a barrier to entry that not all audiences will have the patience to push through.
Rating: ★★½☆ (2.5/5)
