The new movie “Daniela Forever” by filmmaker Nacho Vigalondo is a sci-fi journey through love, love, and illusion.
It will be released in select theaters on July 11th, and it will be available on Digital on July 22nd via Well Go USA.
The film stars Henry Golding of “Crazy Rich Asians” and Beatrice Grannò of “The White Lotus.” It also stars Aura Garrido, Rubén Ochandiano, and Nathalie Poza.
The synopsis is: Grieving the loss of his girlfriend Daniela (Beatrice Grannò), Nicolas (Henry Golding) is consumed by sorrow. He sees a glimmer of hope when he’s offered a chance to participate in a groundbreaking sleep therapy that simulates reality.
As dream and memory blur, he must confront what healing really means—and whether he’s ready to let go.
Nacho Vigalondo on ‘Daniela Forever’
Visionary filmmaker Nacho Vigalondo, who wrote and directed “Daniela Forever,” remarked, “Years ago, I couldn’t believe I would write and direct a movie filled with dreams. I acknowledge the value of this device in so many movies.”
“The inconsequential nature of dreams has allowed them to work as literal views into the characters’ subconscious, or even the irrational heart of the creator’s impulse,” he noted.
“As a kid, I remember getting angry at the reveal at the end of many dream sequences: the sweaty character waking up in horror or joy, the movie resetting back to normalcy,” he recalled.
“Even in those cases where the dream was obvious from the start, I always felt betrayed. I wanted ‘it’ to happen, even if it meant the movie had broken irreparably,” he said.
“As if the symbols and themes themselves suddenly came to life, destroying the logic of the script and the very language of the film. I didn’t want the movie to trick me with momentary surrealism; I wanted it to explode and burn in front of my
eyes,” he elaborated.
Vigalondo continued, “I always impose upon myself to direct every movie as if it were the last one, as a way to maintain honesty over the mundane fears imposed by the industry (and I guess it’s cool to turn a growing fear into a creative method).”
“Having said that, I feel so blessed we were able to combine standard cameras with the old-school Betamax SP technology that I used when I was making short films in high school,” he acknowledged.
“Embracing the past, and the same limitations the crew faced when we started shooting together in the previous century, has been a true adventure and a chance to check how much we’ve actually grown through the years,” he elaborated.
“I’d love to make one hundred more movies, but so far, I’m so happy this testament exists,” he concluded.
