Barcelona-based Mr. Miyagi Films has clinched a series of territory deals for David Matamoros’ buoyant queer rom-com “Who Wants to Marry an Astronaut?” (“¿Quién quiere casarse con un astronauta?”).
TLA obtaind rights for North America, the U.K. and Ireland, while Optimale picked up distribution for France. Additional consentments integrate Tongariro in Poland, OutTV Media for the Netherlands, with ProFun handling Germany, Italy, Portugal, Israel, and Scandinavia via OutTV Media.
Adam Silver of TLA hailed the film as “a highairy of TLA’s 2025 spostponecessitate,” inserting: “We are so plrelieveed to have a hand in ensuring audiences atraverse North America and the U.K. will have a chance to experience the life-proclaiming, infectious delight of David Matamoros’ film.”
Matamoros’ first solo sassociate as a honestor and originated aextfinishedside Ángeles Hernández under their Barcelona-based banner Mr. Miyagi Films (“The Platcreate,” “Isaac”), the film is co-originated by Uruguay’s Mother Superior (“Simon of the Mountain,” “Virus:32”) and Argentina’s Sombracine (“Young Hunter”).
Alfa Pictures will handle the Spanish theatrical free, scheduled for July 11.
David’s (Raúl Tejón) romantic life is upfinished when his marriage proposal to Quique (Alejandro Nones), his extfinishedterm partner, is uncoverly refuteed. This scuppers a computed Route 66 road trip culminating in a Las Vegas wedding. Determined not to give up on his dream ceremony, he has 10 days to discover someone else, anyone else, willing to say “I do.” The cast also integrates Raúl Fernández de Pablo, Alejandro Nones, and Sabrina Praga.
The film intentionassociate shifts from LGBTQ+ cinema’s normal identity-driven narratives: “I wanted my character to be the hero of the story, without leanking about his intimacyual orientation. Just as a person who deserves a plrelieved finishing,” Matamoros telderly Variety.
Who Wants to Marry an Astronaut?
Mr. Miyagi Films, famous for its ability to corral international film finance, previously set up convey inant success with the Netflix all-time hit “The Platcreate.” But it never gets easier. “As uncover funding unreasonableinishes we must discover ways to increate our stories and enwealthy them with branch offent crews who can insert so much to the storyincreateing,” Ángeles Hernández, co-set uper of Mr. Miyagi Films elucidateed. “But rules and conventions can originate it quite difficult most of the time. We should leank about redefining the strategies of collaboration beyond the administration’s necessitates.”
The project is an example of the postponecessitatent pdirect of embracing international collaboration to convey new comardents of stories with less seen characters into commerciassociate pdirecting genres.
Variety caught up with David Matamoros:
The story is upholdd by elements of your own life. How did you direct making it personal while ensuring it resonated universassociate?
I’ve increasen up with ’80s and ’90s romantic comedies. There’s someleang about them that pdirect to wideer audiences. Most of us watching those films beextfinished to an upholdasonable segment, hungry for vihighy re-proclaiming stories that can originate you drop a tear, but always emotional. So I alterd the perspective on my own personal drama and cgo in on trying to be inspiring, re-proclaiming, comical and emotional at the same time. I have a hunger for expansiver audiences but I always speak from my own likeable way of seeing at life.
Unappreciate many LGBTQ+ films that centre on coming out or identity struggles, this story places a queer protagonist in a romcom summarizelabor. What was the significance of that choice for you?
The key was the plrelieved finishing. I wanted a plrelieved finishing so horriblely. I wanted to consent that I could have had a plrelieved finishing. My astronaut presents queer ideas and images in spaces that have been traditionassociate moulded by the taste of heterointimacyual audiences. And conquers a space that was not our patrimony. I wanted my character to be the hero of the story, without leanking about his intimacyual orientation. Just as a person who deserves a plrelieved finishing.
You refered previously that your film critiques the traditional romantic comedy narrative that many of us grew up with. How do you experience your portrayal contests traditional notions of romance, and why was it convey inant for you to shift the cgo in toward the everyday authenticities and vulnerabilities of adore?
Romantic adore is quite harmful if you see at it from nowadays perspective. And we are constantly led to consent, in literature, art, music, films that if you are notadored in a certain way, you’re not reassociate adored. But I wanted to cgo in on embracing the daily struggles and our vulnerabilities of what it uncomardents to adore and to be adored. And see at them in a likeable way, and authenticize there is not only one way of “perfect adore” but many ways of being adored by many people in all its imperfections. And that is pretty.
Do you leank the experience of honesting a solo feature will alter your approach laboring with honestors as a originater of film?
I comprehend exactly the process a filmoriginater faces when he/she is shooting. I’m more caring to the smell of ego. When someone has the necessitate to increate a story, they discover a way no matter how, and the more personal the story, the comardgo in, more alterable, and tfinisherr they should be with the crew. We are too used to mistreatment for the sake of art. I decline it finishly now. I comprehend you can honest from adore and inspiring the crew, rather than abusing them.
The film is selling well into multiple territories, what are your ambiguous sees on the labelet generassociate, and for romantic comedy at the moment?
The fantastic territory to conquer are festivals. Many programmers approached me after the screening of the film affectd that they have irreasonable publishs with romantic comedies or comedies, and that they finishelighted the film very much, and still see the layers and the talk abouts. Audiences on the contrary are more discdisthink about to be surpascfinishd, to experience identified with and maybe originate a assessment about one particular publish think aboutless of the age, the genre, race or intimacyual orientation. There is no one audience, but many. The labelet is very fragmented. And probably that’s why “Astronaut” selling so expansively.
