There’s something genuinely intriguing about “Only Good Things,” the upcoming romance-drama that will be released on February 5th, 2026 through Rensga Filmes. In a cinematic landscape currently dominated by sweeping epics and awards-season juggernauts, this intimate character study feels like a breath of fresh air—the kind of film that reminds us why we fell in love with cinema in the first place.
On the surface, the numbers might seem modest. A budget of $104 positions this firmly in the indie realm, and with zero votes on the rating scale so far, there’s an undeniable sense of mystery surrounding what Daniel Nolasco has created. But that’s precisely what makes the anticipation so compelling. This isn’t a film manufactured by committee or designed by algorithm. It’s a passionate creative vision waiting to be discovered, and the timing of its arrival—sandwiched between the major award-season contenders—suggests this is exactly how Nolasco intended it to land with audiences.
What we know about the creative team is promising on multiple fronts:
- Daniel Nolasco behind the camera bringing a clear directorial voice
- Lucas Drummond, Fernando Libonati, and Liev Carlos anchoring the narrative with their performances
- A lean production that prioritizes storytelling over spectacle
- A runtime of 1 hour and 44 minutes—economical enough to maintain narrative momentum without a wasted frame
The genre designation of romance and drama might initially sound familiar, but don’t let that fool you. In 2026, when we’re seeing major studios lean toward franchise extensions and prestige biopics, there’s real courage in making a character-driven story about human connection. The critical landscape this year has already celebrated ambitious works—“One Battle After Another” dominated the Critics Choice Awards, while “Adolescence” and other intimate dramas found their audience. “Only Good Things” enters this conversation at a moment when audiences have proven they’re hungry for authentic emotional storytelling.
The indie film space in 2026 is experiencing a renaissance of sorts. While major awards have gone to bigger productions, the conversation around cinema itself keeps returning to those smaller, more personal narratives that stick with you long after the credits roll.
What makes this particular project worth paying attention to is the specificity of its creative choices:
- Daniel Nolasco’s directorial approach appears to prioritize character over spectacle
- The casting of three compelling actors suggests an ensemble dynamic rather than a traditional lead-and-supporting structure
- The modest budget forces creative constraint, which historically produces more innovative storytelling
- The 104-minute duration indicates a filmmaker confident enough not to over-explain or over-extend
There’s a tradition in cinema of small-budget productions becoming surprise discoveries. They bypass the hype machine, arrive quietly, and then suddenly you’re hearing about them from fellow cinephiles who saw something genuinely moving. That trajectory feels possible here.
What’s particularly interesting is how “Only Good Things” might function as a counterpoint to the current awards conversation. We’ve seen films like “One Battle After Another” win major critical accolades through their ambitious scope and technical achievement. But cinema also thrives on intimacy—on those moments when a camera finds the right actor’s face at exactly the right moment, and something ineffably human passes between screen and audience. A film like this, with its focus on romance and drama stripped to their essence, could offer exactly that kind of connection.
The cast deserves particular attention here. Lucas Drummond, Fernando Libonati, and Liev Carlos bring varying degrees of visibility to the project, but what matters is the apparent chemistry and commitment. In romance-driven narratives, everything hinges on whether we believe in the emotional stakes between characters. Three actors willing to work for such a modest budget suggests they connected with the material on a profound level—not for marquee value, but because the story meant something to them.
There’s an old saying in filmmaking: great actors don’t need great budgets, they need great material. If these three signed on, it suggests Nolasco had something genuinely compelling to offer.
As we approach the February 5th, 2026 release date, it’s worth considering what this film might contribute to the broader cinematic conversation:
- A potential model for intimate filmmaking in an era of increasing spectacle
- Evidence that audiences still crave human-scale storytelling
- A showcase for actors willing to take creative risks outside the mainstream spotlight
- An example of how constraint breeds creativity
The zero-vote rating currently sitting on the film’s page isn’t concerning—it’s simply the honest truth of a film not yet seen by the public. Come February, that changes. And based on everything visible in the production itself, there’s genuine reason to believe this could be one of those small films that finds its passionate audience and builds a reputation through word-of-mouth rather than marketing spend.
“Only Good Things” arrives at a moment when cinema needs exactly what it promises to deliver: authenticity, emotional resonance, and the simple but profound act of watching compelling actors inhabit complicated human moments. In a year already filled with significant films, this might be the one that surprises you most.
