A film about image, masculinity, and transactional dating
Synopsis
A lonely man hires an escort to test-drive a bold new masculine persona, but as the date unfolds, the performance unravels. (Drama, 20mins)
A lonely accountant, BENJAMIN (30) hires an escort to test-drive a new personality during an all-night “girlfriend experience”. In a desperate bid to reinvent himself, he's adopted the mannerisms of a typical "high-status male", prescribed by online influencers, in the hopes that the new personality will change the world's perception of him.
But the escort, HEATHER (30), sees right through the facade and undermines it, creating tension between Benjamin’s constructed image and his real self.
That tension reaches its breaking point when they make their way to the bedroom, and the intimacy - however transactional - causes the mask to slip. The sex ends abruptly and Benjamin is left reeling from painful memories of his last real relationship. When Heather challenges him about the performance, Benjamin must confront the societal pressures and personal anguish that have led him to this point.
About the Project
"Seeing Someone" is a film that was shot in June of this year, currently undergoing post-production and some pickup photography. The story was in development for a number of years and went through many different iterations until eventually landing on the 16-page script that was shot. It represents Halenian's most ambitious and high-budget project to date, employing a cast and crew of 20 people over a hectic 3-day shoot. We used ACTRA talent and filmed the project on the ARRI Alexa Mini LF.
The film will undergo some pickup shooting in late August and continue its post-production throughout the Fall, with estimated completion by November 30th, 2026. The film will be submitted to festivals and exhibitions for the 2027 season.
CAST
ERIC WELCH - "Benjamin"
ELI-BELLA WOOD - "Heather"
HANNAH WIGGLESWORTH - "Emily"
SYDNEY CLAIRE - "Prostitute"
CREW
EDWARD MINES - Director, Writer, Producer, Editor
ALYSSA ROSE HUNT - Producer, 1st AD
SHAE PATERSON - Director of Photography
NATALIA MORALES - Production Designer
CASEY VUONG - Makeup and Hair Artist
LAUREN YANG - Costume Supervisor
WILLOW DAVID-DEMARE - Intimacy Coordinator
CECILIA LEE - 1st Assistant Camera
FRANCIS JUN - 2nd Assistant Camera
TIMUR ALIEV - Gaffer
SANJOT BASIN - Grip / BTS
THOMAS CLARK - Dolly Grip
TRISTAN HARRIOTT - Location Sound
MICHAEL MANUS - 1st Assistant Camera (Day 3)
RACHEL DUVALL - Makeup Artist (Day 3)
MORGAN ORTMAN - Art P.A.
CALVIN NGUYEN, MEGAN TOST, CLAUDIO MORELLO - Set P.A.'s
Director's Statement
We live in the loneliest generation in history.
As a young person today, our lives feel commodified. We are represented by shallow, 2D versions of ourselves on social platforms and dating apps, measured against impossible standards of -
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Beauty
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Wealth
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Status
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and Lifestyle
- as we compete with a global online marketplace.
Our sense of "average" has been warped to the point where no one feels good enough anymore.
In order to make an impression - to avoid being invisible - we must present enhanced, performative versions of ourselves. And in the wake of this, relationships have become transactional.
It's not connection, it's optics.
It’s not “who you are”, it’s “what you offer”.
The idea for this film came from two things:
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How the digital world influences our behaviour
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The most extreme example of a transactional modern relationship – sex work
Benjamin is a young man trying to reinvent himself into a new vision of masculinity – the hyper-successful “alpha bro” type he sees online. Every day, he's bombarded with the lives of more successful men, trying to catch up.
He believes that acting a certain way is his only hope for improving his stagnant, isolated life.
To validate his image, he visits sex workers – a low-risk version of the intimacy he craves and a sure-fire way to feel accepted. Without friends or other dating options, this is his best bet.
But his first ever "Girlfriend Experience" triggers painful memories of how his last real relationship ended. And faced with something verging on real intimacy, as well as Heather's persistent attempts to peer under the mask, his performance cracks.
In the bedroom, just as he's about the achieve what he wants, the illusion finally shatters.
He's left frustrated, reflecting on years of psychological torment, endless self-improvement, and self-doubt. But in a world where optics determine your position in life, what else is he supposed to do?
He finally gets his answer when Heather confronts him about his mask. As an escort, she's used to being a part of a man's fantasy - for other people - but she can't figure out why Benjamin went to such lengths to convince her that this act was real.
Benjamin's answer? He's not trying to convince her, he's trying to convince himself. All of this was only to make himself believe his own story. He believes he must do this in order to change.
Heather assures him that the whole world is pretending, that everyone wears a mask, and that no amount of pretending will ever lead to anything real.
In the final, tender moment, Benjamin goes through his social media, and finds the profile of Emily - the girl who broke his heart and started this quest for self-actualization.
She is with another man - the archetypal successful man that Benjamin has been trying to replicate. - and a newborn baby. Benjamin stares at what he could have had, and realises that this pretend life will never get back what he lost, nor will it get him what he truly wants - love.
He lets go of the mask for good.
At its core, I want this film to speak to young men who are struggling with identity and finding their place in a culture that’s frequently challenging what it means. to be "masculine"
Many find their role models online, where a hundred competing voices tell them how to behave. But the conflicting messages do little more than leave us feeling lost.
Many in this generation have resorted to following a small minority of successful men, replicating the ways they talk, think, and present themselves.
But this self-obsessed, emotionally-stagnant version of masculinity is a pale imitation of the real thing, indicative of a shallow, materialistic culture that suffocates real connection and family.
Ultimately, true masculinity goes far deeper, and is far more nuanced and honest. Benjamin is a deeply misguided man, but at the heart of the character is a yearning to love, be honest, and be present.
But this film is about far more than masculinity. It’s about how we connect.
Drawing from recent films such as “Anora” (2024), this film intends to use the backdrop of the sex industry to explore themes of loneliness, image, and transactional dating culture.
Themes that I feel are growing increasingly relevant to our modern world.
The evolving relationship between Heather and Benjamin shows how limiting modern dating can feel, using the exaggerated scenario of a Girlfriend Experience to best illustrate this point.
"Seeing Someone" is a story that demonstrates how much our perception of ourselves and each other can change when we reveal our genuine selves. The title of the film is a direct reference to this.
Ultimately, connection only begins when the performance stops.
Be A Part of this PROJECT
When we launch our Kickstarter campaign to help get this project over the finish line, we'll need all the support we can get!
If you're interested in donating to the film, and receiving incentives such as early access, promotional materials, posters, and even producer credits, stay up to date by joining our mailing list below! Thank you so, so much :)
