Infiel
A father's attempt to rebuild a relationship with his son. The two navigate their lasting shame and grudges in an effort to reacquaint as the friends they once were.
Interview with Writer/Director/Editor Ben Escobar
Congratulations! Why did you make your film?
Thank you! I wanted to make this as a challenge for myself to accomplish a handful of things I haven't done before as a director -- 1. shoot on film, 2. shoot with no restraints or compromises on a budget for something with still small narrative confines 3. tell a story about the relationship between parent and child.
Accomplishing all 3 of these effectively, for me, was what I felt was necessary to achieve the right confidence going forward as a director. While it's not my all-or-nothing project, I felt that I needed to see what happens when I direct something that has no compromises or shortcuts on a budget level -- contrary to the typical guerilla filmmaking from film school I was used to. So it was an extreme investment within myself, of $35,000, to see what could happen -- and I couldn't be happier with what that turned into.
I wanted to shoot on 16mm film since that's what so many of the projects that inspire me most are shot on, and what I feel most effectively captures my narrative style as a writer. Knowing this was going to be in the blue hour, due to the complicated nature of the characters and conversation, meant that 16mm, for its signature grain, colors, and delicacy, was the ultimate way to tell this story.
The idea first sparked with the intention to make a story driven by a serious "heart-to-heart" conversation, but it was difficult to decide on what exactly about. After reflecting on what the most uncomfortable subject matter would be for me, in order to find something authentic and challenging for me and an audience, a conversation between a late father and son came to mind -- and nothing else came close.
Imagine I’m a member of the audience. Why should I watch this film?
If you're a new artist, I hope it inspires you to tackle the more complicated subject matter in your own life and to be unafraid of authenticity in your work. I also hope the same for an average film-lover! That the power of honesty and unconditional love can indeed lead to redemption when in the face of adversity with loved ones.
And of course, if you're looking for a world to escape into, less so of an expansive universe, but more of a confined limbo of sensitivity, love, and longing (blanketed in beautiful 16mm film!), this is for you.
How do personal and universal themes work in your film?
Capturing something that can maintain a balance of both, was the motivation behind deciding the nature of the conversation and circumstance between the characters. It made sense that everyone would be able to relate this story to that of the relationship with their own parent, but my personal themes filled in the blanks. Mostly visible in the visual language of the film, I find direct eye contact and consistent focus in these conversations to be extraordinarily difficult for me -- so in Infiel, I wanted to make sure that the few moments where we do maintain focus, and really get to look into another character's eyes and make out their face, it counts -- and it's unforgettable. The film is meant to replicate that of easing into a difficult conversation with a loved one -- starting with something scattered, and closing on something focused and real as the emotional and social layers are lifted.
Also, physical touch and themes of implied physical abuse. One of the most common but often overlooked traits of Latinx culture is the emphasis on physical affection for family members and friends. Touching another person, kissing them on the cheek, giving them a long, wholesome hug, is something that goes a long way and remains a beautiful tradition in the culture. At the same time, this affection and comfortability can lead to physical abuse and violence – one of the more rarely discussed struggles of the Hispanic family dynamic. In this film, we wanted to gently allude to an abusive history between these two characters – one that’s front and center of the father’s struggles.
Finally, one of the most powerful lessons that a child will learn is to understand and empathize with the imperfections of even their own parents. This is a film that resides in this phenomenon and wants to uphold the redemption behind unconditional love between parent and child – waiting to be unearthed or remembered within every late parent-child relationship. We hope that our story inspires other parents and children, as well as young artists to embrace vulnerability with one another and lean towards unconditional love.
How have the script and film evolved over the course of their development?
Once I knew who the conversation was between, and what was the end goal, I knew that the opening line needed to be "I cheated" and I knew the ending must close with a physical embrace.
The most fun part was cracking the everything in-between. I researched many of the "heart to heart" conversations throughout film and video games that have stood out to me the most, in order to trace an effective way of replicating that in our own way with Infiel. Pieces like Olivier Assayas' Cold Water or the ending father/son conversation from Call Me By Your Name stood out... but it wasn't until revisiting my favorite work of fiction of anything ever, The Last Of Us Part II, that I was finally able to trace my own vision for the project, with that of the final conversation from the game -- between Joel and Ellie on a porch, in what will be their final conversation ever. Once I was able to analyze the subtle functionalities of that conversation, from beginning, middle, and end, it all worked. The costume design for Elkin's character of the father was also based on one of Joel's outfits in The Last of Us Part II, which was cool.
On set, perhaps the most interesting evolution in the script, was the ending. At first, the final line of the film was "I would be glad to," (or something dry like that) and it didn't work. Too long and wordy. A simple, "OK" was what I instructed Elkin to change it to, in which he took his time to perform with the perfect delicacy -- now viewable as the semifinal shot of Infiel. It's one of my favorite parts of the film, with the other being the middle, where the father extends his hand to reach out to touch the son's shoulder.
What type of feedback have you received so far?
Elkin Diaz's performance as The Father is a standout part of the film -- opposite Alex Correa playing the son, the two's chemistry is quite literally larger than life. The dedication to their roles is burnt into the screen and makes this little story feel one and the same as reality. I'm dying for the next opportunity to work with them again.
Then of course, Alexa Cha's cinematography is what I feel is the centerpiece of the film -- capturing a unique visual language that magnifies every subtlety and offers layers of interpretation for the audience's experience of the story.
These are the main two things that come up in every conversation but are majorly the product of the entire team. It's rare to find such synergy in a creative team, and it makes me all the more excited for the next collaboration together.
Has the feedback surprised or challenged your point of view?
Not at all -- having worked with the key crew in the past, I knew what we were capable of, and it only affirms what I already knew about them. If anything, the expectations were exceeded. The feedback from this piece has only made me gain more confidence in everything I do in the future -- which is all I've needed since film school.
What are you looking to achieve by having your film more visible on www.wearemovingstories.com?
Always happy to share my thoughts about the creative process -- and always looking for an excuse to brag about our team. I'd love to connect with sales agents, buyers, distributors, producers, and more as we start preparing for the next project!
Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?
Would love to build relationships with Sales Agents, Producers, Buyers, Distributors, and more for this and future projects.
What type of impact and/or reception would you like this film to have?
Especially at this stage of my career, my hope is always that my work translates to other artists. Those that are close to my age of 25, are recently out of film school and are looking for a challenging project to overcome, I would hope to inspire, as other artists' early work has done for me. I also hope that it inspires others with difficult relationships between their parents and loved ones, and makes forgiveness and redemption feel less impossible. I hope that this proves to be a beneficial stepping stone in my and the team's creative careers and that everyone's talents can be recognized.
What’s a key question that will help spark a debate or begin a conversation about this film?
Can a relationship between father and son ever be perfect? Is forgiveness always owed to family? Is there a real right and wrong way to seek forgiveness in a relationship post-abuse?
Would you like to add anything else?
Thanks for reaching out and being willing to hear about our film!
What other projects are the key creatives developing or working on now?
In between securing funding for the next short film and eventual feature, Ben is developing video game adaptation specs for TV and features while in the process of securing representation as a writer/director.
Producer Samantha Ferrand was recently signed to Sandra Dijkstra Literary Agency and is in the process of selling her debut novel, Seven Little Kisses, to a publisher.
Producer Arjun Yadav is a member of BAFTA's Newcomer Program and is in development on future both short and feature-length projects with Ben, in between his job as production manager at Wayfarer Studios currently working on It Ends With Us.
Interview: June 2023
We Are Moving Stories embraces new voices in drama, documentary, animation, TV, web series, music video, women's films, LGBTQIA+, POC, First Nations, scifi, supernatural, horror, world cinema. If you have just made a film - we'd love to hear from you. Or if you know a filmmaker - can you recommend us? More info: Carmela
Infiel
A father's attempt to rebuild a relationship with his son. The two navigate their lasting shame and grudges in an effort to reacquaint as the friends they once were.
Length: 8:37
Director: Ben Escobar
Producer: Arjun Yadav
Writer: Ben Escobar
About the writer, director and producer:
BEN ESCOBAR is a first-generation Colombian-American living in Los Angeles. He boasts a passion for indie-drama and video game adaptation projects. His creativity was uniquely nourished at a young age and continues to be by story-driven video games, thrash metal, lasting teenage angst, and auteur-derived projects. He hopes to impact culture through innovative, humanist storytelling for all generations.
Born and raised in Mumbai, ARJUN YADAV began his film journey as a Young Critics Jury member at India’s premiere Miami Film Festival. At 22, he was made an Executive, managing nationwide production and marketing operations for Fox Home Entertainment’s subsidiary in India; and later for six-time Oscar-winning VFX studio DNEG. In 2018, Arjun was awarded a fellowship to pursue an MFA in Producing at Chapman University. In his current role as Production Manager at Wayfarer Studios, Arjun has worked on documentary and feature projects including Racist Trees (IDFA, Palm Springs 2023), The Senior and It Ends With Us.
Key cast: Elkin Diaz (Father), Alex Correa (Son)
Looking for: sales agents, distributors, journalists, buyers, producers, film festival directors
Instagram: @realbenescobar
Hashtags used: #infiel
Website: www.continuancepictures.com/infiel-2023
Funders: Self-funded
Where can I watch it next and in the coming month?
Dances With Films/Los Angeles - June 24 TCL Chinese Theaters Shorts Screening Block 1