Private Project

God of Sleep

Fearing that his aging wife Martha may miscarry, Henry summons a horrific being to take their unborn child. What ensues is an exploration of their grief, fading sanity and terror at behest of this looming figure – The God of Sleep.

  • Matt Bird
  • Matt Bird
  • Noah Boddington
  • Charlotte Goiris
    Key Cast
  • Nathan Itter
    Key Cast
  • Lindsay Fletcher
    Key Cast
  • Prince Kanisk Nediyedath
    Key Crew
  • Ben Graham
    Key Crew
  • Emma Norton
    Key Crew
  • Dion Marc
    Key Crew
  • Project Type:
  • Runtime:
    9 minutes 34 seconds
  • Completion Date:
    November 17, 2017
  • Production Budget:
    3,000 AUD
  • Country of Origin:
  • Country of Filming:
  • Language:
  • Shooting Format:
    RED Scarlet Dragon
  • Aspect Ratio:
  • Film Color:
    Black & White
  • First-time Filmmaker:
  • Student Project:
Director Biography - Matt Bird

Matt is a currently enrolled film student, aspiring to become a writer/director whist concurrently seeking to produce short films and collaborate with likeminded creatives. He’s most comfortable when working alongside cinematographers to compose images, and is often found drafting short narrative films whenever possible. In 2016, he wrote and directed To Be a Star for the Diploma of Screen and Media. This year, he’s been fortunate enough to re-assume the same role; writing and directing the horror-drama God of Sleep.

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Director Statement

Often trauma, through loss and similar harrowing experiences can become intrinsically linked with items, places or people. The intent of thematically linking The God of Sleep directly with the trauma of Henry and Martha is a manifestation of this concept.

Though the horror genre was new to me from a directing standpoint, I find that taking the tropes of codes imbedded in the genre to depict a character’s suffering through grief and (in
Henry’s case) guilt is where my passions lie. I wish the audience to identify with these characters’ predicament, in turn feeling the pain they endure and thus the horror they’re witnessing. From the opening frame to the closing moments, I've strived for an air of tension, which is only deflated through scaring the audience momentarily, to then build up tension once more; at its dullest ebb, the audience should be unsettled. A balance is to be struck between the tragic difficulty (particularly) Martha is going through and the monstrous nature of being wish has caused this pain. The film’s tone is a split between tragic and horrific, as to depict anything less than tragedy when representing Martha would exploit the situation she’s been put in.