The clandestine meetings. The cheap motel on the outskirts of Santiago. Arias’s physical transformation is key: she moves from rigid, controlled postures to a looser, more feral physicality. The series uses close-ups to capture the sweat and the panic. Here, Infieles deviates from its Mexican or Colombian counterparts. There is no lush music. Instead, there is the sound of a phone buzzing, the screech of a bus outside, the creak of a bed. It is gritty realism. The audience is meant to feel the discomfort of the affair, not the romance.