Sleeping Longing

It's my father's funeral. I want steak and fries. I want to jump into the pool. I want to fuck. I want to sleep. I don't want to sleep.

  • Virginie Nolin
    Director
  • Laurence Olivier
    Writer
  • Virginie Nolin
    Writer
  • Estelle Champoux
    Producer
    Producer & Executive producer
  • Mylene Corbeil
    Producer
    Executive producer
  • Virginie Nolin
    Producer
    Executive producer
  • Carla Turcotte
    Key Cast
    "Pat"
  • Nathalie Doummar
    Key Cast
    "Alice"
  • Ariel Methot
    Cinematographer
  • Guillaume Marin
    Editor
  • Martin Allard
    Sound Department
  • Nataq Huault
    Sound Department
  • Luc Boudrias
    Sound Department
  • Antoine Rochette
    Compositor
  • David Rancourt
    Compositor
  • Les Productions Lost Boys
    Compositor
  • Maxime Normand
    Art Director
  • Project Title (Original Language):
    Dormir Désir
  • Project Type:
    Short
  • Runtime:
    12 minutes 51 seconds
  • Completion Date:
    June 30, 2019
  • Production Budget:
    8,500 USD
  • Country of Origin:
    Canada
  • Country of Filming:
    Canada
  • Language:
    French
  • Shooting Format:
    RED, 2K
  • Aspect Ratio:
    1.78
  • Film Color:
    Color
  • First-time Filmmaker:
    No
  • Student Project:
    No
Distribution Information
  • Fragments Distributions
    Country: Canada
Director Biography - Virginie Nolin

Virginie Nolin is a director and producer from Montreal (Canada), graduated in 2014 from Concordia University and the Mel Hoppenheim Film School in Film Production.

The films she directed explore the marginality of family and love relationships playing with contrasts and discomfort.

Virginie has also produced a feature film, currently in post-production, and nine short films that have won awards and have been presented in festivals around the world.

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Director Statement

I was 24 when my father died on April 23th, 2015. It took me four years to complete this film. Not a coincidence that four years is also the duration of my grief. I fought with my film (and myself) because I thought I had to take a step back and separate myself from the story in order to see more clearly. In the end, I did the exact opposite. I understood I needed to be the closest possible to my character and finally found peace in accepting the autobiographical film I was making. Almost every detail is true. Most importantly for me, the messages are actual voicemails from my dad that I found on my phone. Making the film, I was interested in the memory of my father’s voice as a painful and comforting obsession. I wanted to explore how the random lightness of his messages would contrast with the seriousness of mourning - creating an emotional gap.

Although I experienced some intense events like the heartbreaking speeches at the funerals or the trauma of holding my father’s hand when he died, I did not show those scenes in my film and chose to look at the in-between moments: the driving, the eating, the preparation, the condolences calls, the before and after the funeral. Those moments formed a story made of ellipses where I tell a traumatic and fragmented story which encapsulates the essence of my grief. Moving through these vignettes we experience the character’s denial through those missing parts.

I wanted to express in a simple manner how I felt a gap between my feelings and my needs. Need for a satisfying steak and fries, need for silence, need for a good swim and more mysteriously for me, need for sex. I did not understand what was going on then - neither did my girlfriend.