The Sleepless (2020)

The Sleepless is a mashup of Before Sunrise/Sunset/Midnight, Malcolm & Marie, and Dream for an Insomniac, among other, better films. I love movies about people talking, as long as they have something to say – unlike Zach (Nyambi Nyambi) and Sophia (Rebecca De Ornelas), the titular sleepless, who talk too much but don't say what they mean or mean what they say. The totality of their speeches fails to put together and communicate a single coherent thought. Consider for example the reason that keeps her up at night: “Men. Fear of men." This “fear” does not prevent her from wandering through semi-dark, semi-deserted streets in the wee hours with a perfect stranger; she simply takes a photo of Zach – who happens to be black –, sends it, just in case, to her sister (oddly, he’s not put off by this bit of racial profiling), and poof, her androphobia is magically cured. Or maybe it’s just Zach she isn’t afraid of, or perhaps she’s just full of crap; her explanation of her fear comes down to a series of decontextualized generalizations that never manage to convey why she, specifically, as an individual, feels this way in particular. He is equally inarticulate. At one point she nearly ends their “date” prematurely, and not only do I not know what was it he said that upset her so much, but I have no idea what the hell he was talking about to begin with. Zach and Sophia's conversation is so deliberately Current, Deep and Meaningful, Socially Aware and Politically Correct that it becomes an impenetrable, monolithic abstraction. To put it in perspective, when she asks him which three books he would take with him to a desert island, the question is, in its very triteness, actually refreshing. There is an early sequence in The Sleepless that I initially found inexplicable; before they meet, when they each go outside, Zach and Sophia both audibly pass gas. Looking back, I’m more and more convinced that this was a warning of the incoming verbal diarrhea.