Ethan Felizzari-Castillo is no stranger to pushing creative boundaries. As the founder of CK Films and a filmmaker with a keen eye for human storytelling, he has spent years crafting narratives that challenge perspectives and foster empathy. His short film COSQUILLAS made waves for its raw exploration of mental health in the Latinx community, and now, he is gearing up for his most ambitious project yet—Backyard/Desert. We were honoured to interview him after covering his brilliant short film COSQUILLAS and we couldn’t wait to learn more about Backyard/Desert.
Based on the stage play written by Nancy Irene Kelly, Backyard/Desert follows a border patrol agent grappling with her role in the immigration system. The film takes an unflinching look at identity, ethics, and the human cost of policy. With an impressive ensemble that features Hollywood-seasoned actor Eric Roberts alongside the compelling talents of Rosie Dean and Juanes Montoya, the film is set to deliver a powerful narrative against the stark and relentless landscape of the Arizona desert.
Felizzari-Castillo answered our questions about the challenges and triumphs of adapting Backyard/Desert for the screen, the intricacies of indie filmmaking, and how his past work has shaped his approach to storytelling.
Backyard/Desert is based on the stage play written by Nancy Irene Kelly, which you directed in its original run. How did your experience directing the play inform your approach to adapting it into a feature film? What new dimensions are you excited to explore on screen that wasn’t possible on stage?
Directing the play allowed me to live with the characters and their emotional arcs in an intimate way before expanding the story for film. On stage, we were confined to a single space, and the power of the narrative relied heavily on dialogue and performance. That experience taught me the importance of restraint — how to let silence speak and how to build tension through stillness.
With the film, I have the freedom to explore a larger world. The desert itself becomes a living, breathing presence that adds layers to the story. I’m excited to visually convey the moral reckoning our characters are going through with the help of my talented cast, the team at CK Films/CK Productions and my crew like Luke Pengelly (Cinematographer) and Alessandra Manias (Production Designer).
The film will also allow us to expand the story with additional characters and subplots that deepen the themes of identity, responsibility and ethics.
How did the casting of Hollywood veteran Eric Roberts and rising stars like Rosie Dean and Juanes Montoya shape your vision for the film?
Eric Roberts brings a gravitas that elevates any scene he’s in. Not only is he one of the greatest actors of all time, but he is a wonderful, passionate and generous human being whom I am honored to call a friend. His presence on set alone adds weight, but his nuanced acting really is going to make every moment as ‘Russ’ feel layered.
Pair that up with Rosie Dean (who is a force to be reckoned with as ‘Pammy’) and the innate warmth that Juanes Montoya brings to the role of ‘José Luis’ and you have an all-star group of leading actors.
Together, the entire cast pushes the film into a space where the performances feel lived-in and deeply personal.
The film explores deeply personal and political themes surrounding the US migrant crisis. What challenges did you face when translating such a sensitive and complex topic to the screen?
The biggest challenge was ensuring the film remained human above all else. It’s easy for stories about immigration to become either overly political or emotionally manipulative, but our goal was to focus on the individual experiences within this vast, complex issue.
We did extensive research and worked closely with people who had firsthand knowledge of the migrant experience. It was important that every character felt real—not as symbols, but as fully realized people with contradictions, fears, and hopes.
Another challenge was balancing perspective. The film is told through the eyes of Pammy, a border patrol agent, but it never shies away from questioning the system she’s a part of. Our film aims not to divide, but rather be a bridge between two opposing ideals and remove politics out of the equation to instead focus on the humanity surrounding the border crisis.
Yuma, Arizona, plays a key role in the story’s backdrop. How do you plan to use the desert landscape to visually convey the emotional weight of the narrative?
The desert is unforgiving and endless—sort of like the system Pammy is a part of. The landscape mirrors her internal struggle. It’s a place of both beauty and cruelty, where survival is never guaranteed.
We’re using wide, sweeping shots to emphasize isolation, juxtaposed with intimate close-ups that pull the audience into the characters’ emotional states. Our DP, Luke Pengelly is capturing this looks so beautifully—it’s going to truly transform people’s vision of what’s possible with a limited indie film budget.
The heat, the dust, the relentless sun—it all becomes part of the film’s DNA, making the journey feel visceral.
You mentioned in the press release that the film is being produced in a “true indie film” way. How are you navigating the challenges of indie filmmaking?
Indie filmmaking is all about creative problem-solving. We don’t have the luxury of massive budgets, so every choice has to be intentional.
We’re working with a team that understands how to maximize resources—using real locations, practical effects, and a stripped-down but effective approach to cinematography. We’re also leveraging partnerships, like our collaboration with Arte Video, to stretch what’s possible.
It’s a challenge and we are still attempting to raise our final funds to make the film a reality, but I love that indie filmmaking forces us to be bold and resourceful. Some of the best creative decisions come from limitations.
The story of “Backyard/Desert” centres around a border patrol agent confronting her role in the immigration system. What message do you hope audiences take away from Pammy’s journey?
I hope audiences leave with more questions than answers. Pammy’s journey is about questioning; whether that be herself, the system she serves or with the migrants she meets daily.
More than anything, the film is about seeing beyond labels. It’s about recognizing the weight of our choices and the humanity of others, even in spaces where the system tries to erase it.
How has collaborating with Italian production company Arte Video enriched the creative process for this film?
Our ongoing collaboration with Arte Video and my production company CK Films has been a joy! Arte Video brings so much value and experience to the post-production team—we are eager to film the movie so we can get it in their hands!
They also have a history of working on indie projects that require resourcefulness without sacrificing quality, which aligns perfectly with how we’re making Backyard/Desert—so they are the perfect partners!
Can you share insights into working with co-writer Nancy Irene Kelly and how your voices merged for the screenplay?
Nancy wrote a play that was already so rich and full of characters that felt real. Our collaboration on the screenplay was about expanding that foundation while staying true to the heart of the story.
Our joint background in theater and our shared love for cinema made for a great balance. Because it was a play, there was a deep understanding that the characters and dialogue needed to feel sharp and fast-paced. I think we blended that well with a cinematic language. The screenplay finally feels ready for our shoot later this year!
The film promises to spark conversations about humanity and empathy. What strategies are you employing to ensure the story resonates with viewers from diverse perspectives?
First and foremost, we’re grounding everything in authenticity—no caricatures, no easy villains or heroes. Just human beings navigating an impossible situation.
We’re engaging with different communities throughout the process, ensuring that voices from various backgrounds are represented both behind and in front of the camera. Our goal is to be able to give back to communities by partnering with local NGOs that are doing the work to provide education and resources to migrants and communities affected by the border crisis most.
How has your background in short films, such as COSQUILLAS, prepared you for the challenges of directing a feature-length project?
I think, like many fellow directors & producers, my background in shorts was really like my film school. It was a playground for me to take big risks and try things to further educate myself, but also find more voice within film.
COSQUILLAS taught me how to tell a complete story with minimal resources. That precision—knowing what’s essential and what isn’t—has been invaluable in structuring Backyard/Desert from a producing lens.
As production begins in Spring 2025, what aspects of filmmaking are you most excited to dive into during this process?
I’m most excited to see how the actors bring these characters to life. There’s something magical about watching a performance evolve in real-time. But honestly—I’m excited about it all. It has been a tough journey to get here and one that we are still very much so on. I am just excited to get started!
What inspired you to explore mental health in COSQUILLAS?
Mental health in the Latinx community—especially for men—is rarely discussed. I wanted to create a story that acknowledges that struggle while breaking the silence around it. That’s why we teamed up with the nonprofit Fountain House to tell the story and further promote mental health resources for all communities.
How did shooting in black and white help convey Gio’s emotional journey in COSQUILLAS?
Love that question. My Director of Photography, Anthony Fioto, and I wanted to shoot in black and white because it stripped away distractions. It forces the audience to focus on Gio’s internal world—his isolation, his pain, and his fleeting moments of hope.
What was the significance of the split-second scene of color in COSQUILLAS?
That moment represents a shift—a realization, a breath of clarity. It’s a reminder that there is still life beyond the darkness.
How has the success of COSQUILLAS influenced your approach to “Backyard/Desert”?
I think more than anything, it has reinforced the power of restraint within my filmmaking. Less is more! Sometimes, what you don’t show is just as powerful as what you do.
Looking ahead, what do you hope audiences take away from both films?
I hope they walk away with a deeper sense of empathy. Whether it’s mental health (COSQUILLAS) or immigration (Backyard/Desert), these are human stories that deserve to be seen, heard, and felt by everyone—regardless of your background, political ideologies or opinions.
Thank you, Ethan Felizzari-Castillo, for taking the time to answer our questions about Backyard/Desert and COSQUILLLAS. His insight into the filmmaking process, along with his dedication to telling meaningful stories, offers an exciting glimpse into what audiences can expect from this project. It’s clear that his passion for cinema and storytelling continues to drive his work in powerful ways.
Felizzari-Castillo’s passion for storytelling is evident in every project he takes on. As Backyard/Desert gears up for production in Spring 2025, it stands as a testament to the power of independent filmmaking and the importance of bringing underrepresented stories to the forefront. With a cast and crew dedicated to authenticity and emotional depth, this film is poised to leave a lasting impact on audiences worldwide.