When it comes to queer nightlife, most film portrayals lean polished, if not sanitized. For director Nico Blanco, that didnt sit right. His new short film Cowboy, Choker, Harness & Heart, co-directed with Julia Ponce Daz, dives headfirst into the mess, intimacy, and humor that pulse inside a club bathroom stall.Building a Story Out of ChaosThe spark came from one of Blancos own dates, where both partners flirted with strangers mid-outing. Instead of smoothing the edges, he leaned into the chaos. I rarely see queer nightlife shown as it really is, Blanco said. I wanted to capture that play and self-discovery.When he pitched the idea to Ponce Daz, then a classmate at the American Film Institute, she was all in, on one condition: the title needed an upgrade.A Partnership Fueled by DesireThe directors had already collaborated in different roles at AFI and found themselves drawn to similar themes. For Ponce Daz, character depth became her way in. I wasnt the teams party girl, she joked. But I could dig into the characters, their desires colliding in this tight, specific space.Together, they landed on a guiding phrase: desire always wins. That theme became the films anchor.Recreating the Club BathroomThough set in a gritty bathroom, the team built the environment from scratch. Designer Marina Perez and cinematographer Olivia Segarra meticulously crafted every detail, down to cracked mirrors and scuffed postersto capture authenticity while giving the directors flexibility in lighting and camera movement.Its funny, because both of us usually prefer shooting on location, Ponce Daz said. But it became clear a built set would let us choreograph and still keep that raw energy.Casting From the Dance FloorInstead of relying solely on auditions, Blanco and Ponce Daz went straight into nightlife itself. Street casting not only shaped the films ensemble but redefined entire characters. Mistress, played by Amina Lakin, was rewritten once she was cast. We always wanted the film to reflect the real queers who make nightlife what it is, Blanco said.For Ponce Daz, scouting was both thrilling and nerve-wracking. Id spot someone magnetic, then shove Nico to go talk to them, she laughed.Balancing Improvisation and StructureWith only two shooting days, the team had to carefully choreograph scenes while leaving space for improvisation. That tension mirrored the film itself: structured yet unpredictable. When filming intimacy, you have to give actors the freedom to find what feels natural, Ponce Daz said.The edit leaned into this chaotic spirit. Working with editor Colton Warren, the directors trimmed down material to highlight the films kinetic energy, later adding original music from Lakin to give it its pulse.An Ending That SurprisesOriginally, Blanco envisioned a breakup finale. But with input from Ponce Daz and Segarra, the ending evolved into something less expected: a reflection of desires transformative, and often funny, power. The credit scene, featuring Mistress in a bathroom moment worthy of John Waters, is now one of their favorite touches.Whats NextBoth filmmakers are moving into features while still trading notes on each others work. Blanco recently premiered a new short, Mientime, at Newfest, while Ponce Daz is developing Digital Dolls, a Spanish coming-of-age story exploring early-2000s internet communities.Still, both hinted their partnership is far from over. As Blanco put it: Id love to co-direct another sexy, sad queer story with Julia.Ponce Daz didnt miss a beat: That might be my favorite genre of all time.Source