“Waiting for Cloto” — A Poetic Glimpse into Time, Myth, and the Human Soul
There are short films that tell a story, and there are others that paint a feeling. Waiting for Cloto, the new experimental sci-fi short by J. Julián Vacas, belongs entirely to the second category. It’s an audiovisual tapestry that blurs the line between mythology, cinema, and music — a hypnotic journey through time, color, and symbolism.
At just over eight minutes long, the film manages to create a vivid and emotional atmosphere without relying on traditional storytelling. The concept comes from the ancient myth of Clotho, one of the three Fates in Greek mythology who spins the thread of life. Here, Vacas reimagines her in the contemporary world, where the past, present, and future no longer align. Clotho, portrayed with stunning poise by Inés Klein, searches for her sisters to restore the loom of destiny and bring order back to time itself.
From the first frame, it’s clear that Waiting for Cloto is not a film to be explained but to be felt. The director uses color and movement as emotional languages — the cold blue lighting intertwined with pink tones builds a visual rhythm that reflects both serenity and chaos. Every image feels deliberate, as if painted with light and emotion.
The visual effects are particularly impressive given the film’s independent nature. They blend seamlessly into the narrative, never feeling out of place or excessive. Instead, they enhance the world Vacas creates — one that’s at once futuristic, dreamlike, and deeply mythological. The transitions, the mirrored movements, and the interplay between space and time show a filmmaker who understands how to merge form and meaning.
The classical-inspired score plays a vital role in shaping the film’s identity. It elevates the narrative without overpowering it, turning each scene into a choreographed dance between image and sound. The music serves as the film’s heartbeat — delicate yet commanding — perfectly synchronized with the emotional arc of Clotho’s journey.
This union between visual poetry and classical music is where Vacas’s film truly shines. It’s nothing about dialogue and more about rhythm, texture, and feeling. In that sense, it recalls the essence of early fantasy cinema — those timeless fairy tales told through light, gesture, and atmosphere rather than words.
Waiting for Cloto showcases a filmmaker at the height of creative control. J. Julián Vacas not only directs, but also writes and produces, crafting a vision that feels intimate and meticulously designed. His past works (Vanagloria, Citizen Anonymous, X Once Upon a Time, New Moon) already demonstrated his talent for visual experimentation, but Cloto pushes that even further — achieving a perfect balance between visual innovation and emotional depth.
The short reminds us that science fiction can be lyrical, and that myth can coexist with modern aesthetics. It’s a film that doesn’t seek to explain destiny but to evoke it — a visual poem about time, existence, and the fragile beauty of human creation.
To reveal more would spoil the experience, and Waiting for Cloto deserves to be watched with an open mind and heart. It’s an eight-minute meditation on eternity, framed through the lens of fantasy and modern art. A rare piece where form and soul meet in perfect harmony.
With its stunning visuals, captivating score, and the commanding presence of Inés Klein, Waiting for Cloto stands as one of the most inventive short films in this year’s fantasy circuit — proof that even within a short runtime, cinema can still weave threads of wonder and reflection.
Film Credits
Director: J. Julián Vacas
Writer: J. Julián Vacas
Producer: J. Julián Vacas
Cast: Inés Klein, Julie Ladagnous, Egle Krasauskaite
Runtime: 8m 30s | Genre: Fantasy / Experimental / Sci-Fi | Country: Spain | Language: English | Format: 4K | Aspect Ratio: 16:9
Disclaimer:
All images and materials referenced belong exclusively to the filmmakers, producers, and copyright holders of “Waiting for Cloto.” This review represents the personal and professional opinions of the author, Darwin Reina and is intended solely for critical and journalistic purposes.
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