Just like Javier Cutrona‘s Fishgirl, Paolo Marinou-Blanco’s Dreaming of Lions was part of the Critics’ Picks section at this year’s Tallinn Black Nights festival, as the second Latin American entry in the program. In this interview Milani Perera speaks with the Greek-Portuguese writer/director about the deeply personal inspirations behind the film, and about using dark comedy to tackle the subject of euthanasia.

MP: Paolo, what inspired the story behind Dreaming of Lions?
PM: The inspiration comes from a very personal place. Years ago, my father was in the hospital, facing serious health issues, and we had conversations about euthanasia. He dealt with it through humor – making light of the situation, even joking with doctors. It was his way of coping. Now, my mother is in declining health, and we’ve had similar difficult conversations. It’s excruciating as a son, but my mother’s character and resilience inspired the protagonist, Gilda. These intimate, personal experiences drove me to explore the complexity of choosing life or death.

MP: How did you approach scripting such a sensitive subject?
PM: I’ve always been drawn to exploring dark, complex themes through dark comedy. It allows me to tackle serious social and political issues in a thought-provoking and digestible way. For Dreaming of Lions, I spent years mulling over the idea before taking two focused months to write the first draft. The hardest part was blending reality and absurdity – capturing the legal, social, and human dimensions of euthanasia while pulling the audience into uncomfortable waters with satire and tragedy. I also wanted to critique the wellness industry, which often capitalizes on human suffering in absurd ways. That balance of humor and tragedy was key to the script.

MP: Crafting the film must have presented unique challenges. How did you shape its style?
PM: Breaking the fourth wall was intentional from the start – it gives the protagonist, Gilda, a direct connection to the audience. Her ‘partner in crime’ is Amadeo, a crucial character in the story who navigates this emotional terrain with her. Thematically, I was inspired by Hemingway’s The Old Man and the Sea. Not in literal terms, but by mirroring the protagonist’s mindset – the image of lions playing on a beach as a symbol of peace and serenity resonated deeply with me. It became a metaphor for Gilda’s unattainable longing for inner calm and the story behind the film’s title.

MP: Casting Gilda seems like a pivotal choice. How did you find the right actress for such a demanding role?
PM: I knew I didn’t want an actress from Portugal because I needed someone who felt socially isolated – someone whose personal experience could mirror Gilda’s emotional world. By pure accident, I discovered Denise Fraga. I came across a video where she portrayed a narrative about claustrophobia and anxiety with such captivating precision – a mix of comedy and elegance. At that moment, I knew she was the one. Her age and authentic presence brought a natural connection to the script, and she perfectly embodied the character’s isolation and strength. That choice, I believe, makes Gilda’s story even more universal and relatable.

MP: Dreaming of Lions is both intimate and universal in its themes. What do you hope audiences take away from it?
PM: At its heart, the film asks whether life is an obligation or a choice we consciously affirm. Gilda’s journey forces her to confront despair, isolation, and, ultimately, the question of what makes life worth living. There are no easy answers, but cinema’s beauty lies in creating space for reflection. I hope audiences see a bit of themselves in Gilda, walk away with their own questions, and perhaps rediscover what truly matters to them.