In 'Sleepeater,' Two Women Disavow the Caretaker Role — and Claim Their Father's House Instead

      “Sleepeater” director Amrita Acharia highlights that women are frequently assigned caregiver roles, whether they desire them or not — they’re expected to look after children, partners, and elderly parents alike.

      In “Sleepeater,” the main characters Ahri and Matilda (portrayed by Jordan Alexandra and Amelia Clay) have no intention of caring for Ahri’s ailing father (Emilio Doorgasingh). When he shows even the slightest signs of decline, they have him admitted to a facility and take over his modernist home, where they have been collaborating on renovations, and commit to raising their new child in that space.

      However, guilt begins to set in. Along with it comes an abundance of slugs. Their seemingly perfect life is disrupted by an unforeseen sleeplessness.

      The film is being screened today at the Poppy Jasper International Film Festival as part of LGBTQ Day. We spoke with Acharia and her co-writer, Max Krupski, about themes of sleep, the complexity of character likability, and finding an appropriate substitute for slugs.

      Amrita Acharia and Max Krupski Discuss Creating ‘Sleepeater’

      MovieMaker: I’m intrigued by the title — a quick search reveals sleep eating is a disorder akin to sleepwalking, where individuals eat unconsciously during sleep. However, that doesn't appear to be the main focus of the film, except perhaps on a metaphorical level. Can you elaborate on how you came to select this title?

      Amrita Acharia: Both Max and I have dealt with insomnia and its effects on one’s physical and mental well-being. The title emerged before the entire story was fleshed out, stemming from a concept Max devised about two women trapped in a continuous state of sleeplessness. The narrative intertwines the guilt that gnaws at the women with the paranoia that escalates as the film progresses.

      Max Krupski: Amrita and I often compile extensive lists of fragmented moments or images that we then develop into full stories. For “Sleepeater,” we consistently returned to the theme of guilt. The character's insomnia deteriorates their mental state and relationship uncontrollably, making the title both a literal and metaphorical reflection of this experience.

      MovieMaker: Amrita, this is your second short film that explores the dynamics of caring for aging parents. In your earlier work, “Carer,” a daughter feels overwhelmed by her responsibilities towards her mother. In contrast, this film features a daughter (and her partner) who reject that obligation. What draws you to this theme?

      Amrita Acharia: Society often assigns caregiving roles to women as a default expectation, irrespective of the circumstances. Opting for what may be the “better” choice often invites judgment, guilt, and feelings of neglect. In “Sleepeater,” the choices made lead to sleeplessness — whether viewed as a curse, guilt, or in another light by the audience. Ultimately, the focus isn’t solely on this specific issue but on portraying women in "unpleasant" situations that may evoke discomfort in viewers.

      MovieMaker: Traditionally, audiences are inclined to root for protagonists who are portrayed as loving partners and parents. Yet, right from the beginning, the couple’s seemingly callous act of sending the elderly father away and taking possession of the house they were renovating raises questions, especially since he doesn't obviously seem to need professional care. As the women's situation darkens, we empathize with their plight but also can't help but think of the man they've sent away. How did you navigate creating characters that are both sympathetic and unsympathetic, and how does this dynamic serve the story?

      Amrita Acharia: Max and I strive to uncover the most honest, human aspects of our characters, while purposely not shying away from revealing their darker, less palatable traits, particularly in women. Rather than concentrating on their likability or how audiences might empathize with them, we aimed to make their actions relatable and at times questionable.

      I don't believe it's necessary for viewers to fully support them to resonate with the story — if there’s a perception of balance regarding their sympathy, that ultimately depends on the audience's individual connection to the characters and their circumstances. I think that balance arises from rooting them in realism without fear of them being unlikable.

      Max Krupski: People can do terrible things; that’s part of being human. What matters is how you act after making a mistake. We've always believed that if the couple could just experience a moment of clarity and communicate openly, they could have been all right. However, the guilt expressed through their insomnia isolates them and ultimately leads to their downfall.

      MovieMaker: Amrita, alongside your directing work, you have a successful acting career. Yet you have not acted in your own films so far. What motivates your decision to keep these roles separate?

      Amrita Acharia: I wouldn’t rule it out for the future, but at this stage