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it made us laugh and it also just felt really true to that experience of when your heart absolutely bursts outwards and you just feel like everyone’s staring at you and you can’t make rational sense of it anymore.

So yeah, it’s kind of like trying to just express in the most visceral way that we could find what it’s like to have that pain. What do you think the relationship is between NINA FOREVER and horror? NINA FOREVER is a very distinctive concept for a movie. Where did the original idea for this film start, if you can put a pin on it?

Ben Blaine: The original idea initially came about when I was working in an off-license (a shop licensed to sell alcoholic beverages) and one of the local regular guys who would come in and often buy drinks, very sadly his daughter died.

Partly there is – as Chris was just saying – that kind of physicality, of wanting that physical connection, but then there’s also that…

it leaves you feeling such a god damn mess and I think having this naked, bloody woman just kind of sprawled everywhere and the mess that she creates…

And witnessing the astonishing and heartbreaking change that happened in him really…

you know, it was one of the first experiences about death that I had at the time.

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You’re losing the touch and the feel and the smell of that person as much as you’re losing the idea and their mind.

The Nina stuff was coming through and it was clear that she was a really compelling and interesting character.

And then we were looking around, later still, for a thing that we could make as a feature film that felt contained and felt like it was not one of our very expensive ideas that we still have.

Chris Blaine: Yeah, this is what that feeling looks like. There’s been some debate about whether or not NINA FOREVER technically qualifies as a “horror movie,” because even though it has a supernatural and horrific element, no one gets killed. Chris Blaine: It’s definitely been a really interesting ride to see, because we didn’t know really what it is either, beforehand.

When we were writing it, the way we were describing it was “it’s a magic-realist story that uses horrific undertones,” and it wasn’t really fitting in any one particular genre.

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