What quality were you looking for regarding the thriller aspect of the film?
Carlos: This story is a character-driven drama as much as a thriller, and we wanted to keep that balance throughout the film. Once we tweaked the characters for Jonathan and Hector, we worked with Jim to find the tension level that was organic to this new version. In working with the actors, they physicalized moments of tension in a nuanced way. I was personally drawn to the challenge of telling a story with two physical characters but with the subjective looming presence of a third one that takes more prominence as the film progresses. The idea of this third character begins as the core mystery of David’s trauma. Justin suspects this can be his ticket to escape and tries to find out more, but it doesn’t go the way he expects. The conflict surrounding this third character takes them to a peak of tension and becomes the catalyst for the film’s resolution.
Oscar: To develop a kind of cat-and-mouse game between the characters, it was important for us to use thriller scenes only when necessary. At times throughout the film, Justin seems to agree with this game, but the audience will realize that it is part of his strategy to escape from David.
What were the challenges you faced on set?
Oscar: We set out to execute the film in a challenging but exciting way that consisted of very few shots, long camera phrases, and designed movements. The entire story takes place mainly inside a house, and we wanted to make it feel like a mysterious labyrinth. In order to achieve this, we had to shoot in three different spaces and make it look like one.
Carlos: The pandemic added an extra level of health protocols on set. Luckily, we were used to working with a small but very effective crew that could adapt to the situation. It was essential to keep an intimate environment on set since we were dealing with many difficult raw moments for the actors. We decided we wanted to have the ability to watch dailies on set and edit while in production. This entailed the work of an assistant editor, media transfer, and coordination is usually done in post. This aspect was challenging but rewarding because it allowed us to work based on a rough-cut assembly of the film.
“The entire story takes place mainly inside a house, and we wanted to make it feel like a mysterious labyrinth.”
What advice would you give to independent filmmakers who want to make a suspense thriller? Can you speak to the script and production?
Oscar: From my point of view, the thriller is an interesting genre to explore, but it is essential to find a story where the suspense is part of its roots. Fear and tension can be attractive elements to use, but they must be supported in situations that make the plot progress.
Carlos: I think every good story centers around compelling characters and relationships regardless of genre. For a suspense/thriller to be in the works, once you have a strong foundation in characters and story, the next step is working with subtext to raise the stakes: the metaphor of Hitchcock’s ticking bomb under the table. The unsaid and the unknown should be as important as what the characters are actually saying in the dialog. Time and space constraints are essential obstacles for characters to overcome. Visual language and execution take special importance when dealing with subtext since the camera should hint at what the characters are not seeing or purposely hiding. In order to have a consistent character-driven narrative, all these elements and tools should be put in play only to continue exploring and enhancing the characters and story.
How can we see Borrowed?
Carlos: We are completing our round of festivals in the US and taking the film to Europe and Latin America, where we are certain it will connect with cinema audiences. Buffalo 8 is our US distributor, and we are looking for the best fit in theatrical, Streaming, and VOD markets.
For screening information, visit the Borrowed official website.
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