In multiple scenes, it’s difficult to determine Sophia’s intentions more so than Zach’s. So it is not evident whether their relationship will prevail after their sleepless night.īoth characters Zach and Sophia are damaged by their mental demons. In many of the scenes viewers, get a more relaxed conversational tone between the two characters Sophia and Zach.
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With other romantic comedies, it becomes transparent midway through the film whether the romance of the protagonist and antagonist with fail or thrive. When it comes to character development, the audience does not leave with the fullfullment of knowing the status of Zach and Sophia. The fact that the film is set in black and white helps to establish that it is in fact mid-morning hours. The director’s choice of a black and white film enhances the effect of a late night setting. Rather than feeling exaggerated, which many traditional romantic comedies succumb to, the film begins as if it is taking place in real life. The Sleepless takes an unconventional approach when it comes to the setting of a rom-com. When one thinks of comedy, a bright setting or scenery may come to mind. The rawness in Dibiasio-Ornelas’s work automatically helps to eliminate any preconceived biases viewers may have about romantic comedies. With a slight bit of help from the bodega owner Samir, Zach and Sophia wander through the mid-morning hours until one finally departs. Unfortunately, upon meeting, the two don’t automatically hit it off.
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In director Michael Dibiasio-Ornelas’s The Sleepless, two characters Sophia (Rebecca De Ornelas) and Zach (Nyambi Nyambi), who both suffer from insomnia, happen to meet at 3:00 a.m. It is one where the director’s intent is well executed with all character interactions and psychological concepts explored throughout the film. Who knew that in a simple but natural feeling romantic comedy, dynamics of mental health could be subliminally played out for viewers to notice? The Sleepless is not your average romantic comedy.
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For once a rom-com that ditches the overused “first, vengeful second, become friends third, more than friends” predictable narrative in exchange for real conversation and character connections.