Celebrity Spotlight: Director Ethan Felizzari-Castillo
Celebrity Spotlight: Director Ethan Felizzari-Castillo
What inspired you to bring Nancy Irene Kelly’s play to the screen?
I had been involved with the piece as the Director since 2018 and I think I was honestly just too stubborn to let this one go! The heart of Nancy’s play resonates with me. It’s a deeply human story that speaks to the urgency of the migrant crisis, but it also zooms in on individual lives. The way Nancy tackles this personal and emotional journey, set against an immigrant’s journey, gave me a lot to work with. I knew it had to be adapted for the screen because of how potent the message is — it’s something that needs to be shared beyond the stage, in a broader, visual context. And as a producer who works in a space that prioritizes underrepresented voices, this was a perfect fit.
2. The film explores deeply personal and political themes surrounding the migrant crisis. What was your approach to balancing the human story with the larger socio-political narrative?
For me, it was all about never losing sight of the humanity at the center of this issue. The migrant crisis is something that can feel distant and abstract for many people, so by focusing on the personal experiences of the characters, we can bring this global issue down to a human scale. The political side of the narrative is crucial, but I didn’t want it to overshadow the emotional journey of the characters. My approach was always to show the consequences of the political landscape through the lens of those directly affected.
Personally, I do feel that the hot-button “migrant issue” has been used as a political chip to further divide us. We are one human race and we need to start acting like it before it is too late.
3. Rosie Dean is stepping into her first leading role. What stood out about her performance during casting, and how did you know she was the right choice for Pammy?
I knew she was the right choice the moment I heard her read some of ‘Pammy’s’ lines out loud with me as I was doing tweaks for an industry reading of the play version of Backyard/Desert. Pammy is such a layered, nuanced character. She is someone who’s caught between duty and morality, and Rosie brings this raw vulnerability and strength to the role that is truly exhilarating. Rosie just has an authenticity to her that’s rare, especially for someone stepping into a leading role for the first time. She has this incredible presence and energy that makes it feel like she’s been a “star” for years, even though it is her first major project.
4. The film’s setting plays a crucial role in the story. How do you plan to capture the stark beauty of the desert while also portraying the harsh realities migrants face?
The desert is such a compelling character in itself. It’s this vast, unforgiving space, yet it has this raw, stark beauty that I want to showcase. Cinematically, we’ll use the landscape to reflect the emotional and physical challenges the characters face. The heat, the emptiness, the distance — it all mirrors the isolation that the migrants experience. But we also want to capture moments of serenity and quiet beauty, as this journey is not just about struggle. It’s about hope, survival, and finding moments of peace even in the hardest places.
5. Backyard/Desert is a true indie production. What challenges have you faced in bringing this story to life, and how have you overcome them?
Indie filmmaking is always a bit of a rollercoaster. The budget is tighter, the timeline is shorter, and you often have to get creative with resources. The phases of film seem to just blend together because oftentimes you don’t have the luxury of having a proper development, fundraising, pre-production, production etc. But what’s been amazing about this project is the passion of everyone involved. When you’re working on a smaller scale, you have to be resourceful and adaptable, but it also means you have the freedom to take risks and experiment. Our team (which is surprisingly quite large) has been incredible at making the most out of what we have, and we’re telling a story that feels urgent and important, which keeps everyone pushing forward.
As Sean Baker said in his Anora Oscar-win… long live independent film!
7. The cast blends Hollywood veterans like David DeLuise with rising stars. How did you approach casting to ensure the right dynamic for this emotionally charged story?
It was all about balance. The producers (Stefanie, Adam, Juanes), casting (Sabrina Howells at Caywell Casting) and I wanted a cast that could bring the depth and experience of seasoned actors, but also the energy and freshness of new talent. There’s a unique chemistry that comes from blending both worlds. David DeLuise brings a kind of grounded, relatable energy to the film. But then you have fresh voices like Rosie Dean, Juanes Montoya and Peter-William Jamieson, who add raw authenticity to the characters. The dynamic between them is key to the emotional tension and depth of the story.
8. You co-wrote the screenplay with Nancy Irene Kelly. How did the adaptation process evolve, and were there any significant changes from the original play?
Adapting a play to a film is always a challenge because you have to think about pacing, visual storytelling, and how to open up the world beyond a stage. We had to streamline some of the dialogue and adjust the structure to make it fit the cinematic form, but we never lost the heart of Nancy’s play.
A big change was expanding the narrative visually to bring out the landscape and the physical journey of the characters. We wanted to make sure that the isolation, the emotional burden, and Pammy/José Luis’s journey could be felt in every frame.
9. CK Films is known for championing underrepresented stories. How does this film align with your company’s mission, and what impact do you hope it has?
At CK Films, we’re all about telling stories that matter, especially stories from voices and perspectives that are often overlooked. Backyard/Desert is a perfect example of that—it’s a film that dives into a complex, urgent issue from a deeply personal point of view. It’s a woman’s story, written by a woman, starring a woman and simultaneously manages to be a story about immigrants, and in the film’s case, latin immigrants.
The migrant crisis has been a part of the mainstream conversation for years, but not always in a way that truly explores the human side of it. By sharing these stories, I hope we can contribute to shifting the narrative, sparking more empathy, and encouraging deeper conversations about the issues at hand.
10. The migrant crisis is a highly politicized issue. Were there any concerns about how the film would be received, and what message do you hope audiences take away from it?
It’s definitely (albeit unfortunately) a politically charged issue, but that’s why we focus on the human side of things. We’re not here to preach ONE political agenda — we’re here to tell the stories of the people who are living through this crisis.
There’s always a risk when you tackle a topic like this, but the truth is, people need to see these stories. We can have all the debates we want, but it’s the personal experiences that often cut through the noise and spark real change. I hope audiences walk away with a deeper understanding of the humans on all sides of the issue and maybe, just maybe, it’ll encourage them to rethink their views on individuals seeking new lives.
11. You’ve assembled a strong production team, including Arte Video as a partner. How has this collaboration shaped the vision and scale of the film?
Arte Video has been an incredible partner. They’ve brought so much expertise and vision to the table, especially in terms of our post-production value and eventual distribution in global markets. Working with them has really expanded the possibilities for the film, not just in terms of scale, but also in terms of the artistic vision. They’ve helped us elevate the project, ensuring we can achieve the look and feel we want, while also giving us some of the resources to tell this story authentically and effectively!
12. What’s next for Backyard/Desert? Are there plans for festival submissions, distribution, or further partnerships?
Well, first, we have to make the movie! We are still currently in this hybrid fundraising & pre-production phase where we have so much already set, but like many indie movies, still could use more capital to make this film the right way. It’s an exciting place to be though — we have ownership of an important story and we are on track to tell it in our own way! But hey, if you’re an investor or producer interested in helping us make this story a reality, hit us up. We’d love to chat 
Once the film is completed, we are looking at submitting to a number of festivals to get the film in front of the right audiences. As for distribution, we’re exploring multiple avenues to make sure it reaches as many people as possible. We’re definitely open to more partnerships — this film has a message that deserves to be seen by a global audience IN A THEATER (and I want to emphasize that). Once the film is complete, we are going to make sure the story gets into the hands of those who can help amplify it, and we’re ready to take the film wherever it can go.
