GIRL ASLEEP is an allegoric, coming of age tale that dives into the mind of Greta Driscoll on the evening of her 15th birthday. Deep in the ominous forest beyond her back fence she meets surreal characters inspired by the archetypes in her life; the over-protective father, the relentlessly friendly best-friend and the suave, French crush (ooh-la-la). More than an instructional video for teenagers, this film features heavily in classic occa rhetoric and loin-stirring symbolism.
New to the neighbourhood, Greta (Bethany Whitmore) meets Elliott (Harrison Feldman) on her first day of school. Elliot is beyond pleased when Greta takes him up on the offer of friendship – which comes with a pink frosted donut. Their introduction is cut short by Jade (Maiah Stewardson) and her sisters – the triplets offer Gretta a spot in their group that seems like less trouble to take than pass-up. Gretta hangs out with Elliott in her home which, unfortunately, is also the residence of her eccentric parents Conrad (Matthew Whittet) and Janet (Amber McMahon). In the comfort of her bedroom, Greta becomes more open and shows Elliot her prized possession: an old music box with an eerie-sweet tone. It reminds her of fantastic creatures she imagined as a child.
Sensing their daughter’s growing pains, Conrad and Janet decide the best cure is a 15th birthday party. It’s not so bad Elliot says, “they’ve only invited the entire school”. The party starts well, but the triplets show up in the driveway with an unwanted present – an original song titled “You’ve Got No Tits,” written just for Greta. After escaping to her bedroom, Greta passes out and wakes up firmly at the bottom of Alice’s rabbit hole and on a mission to find her music box which has been stolen by a yellow munchkin. Parts of the film may seem contrived but should be understood with regard to the dream-journey which forms the film’s core.
Not yet in cinemas and featured at the Gold Coast Film festival the audience was treated to a Q&A with Actor, Mathew Whittet and Director Rosemary Myers who commented that it was their keen intention to integrate elements of fairy tales throughout the movie. On stage (Girl Asleep was previously written for the theatre), this flexibility towards the fantastic would have been easier to pull off, so adapting to the screen was a bold move. The film is given a unique edge by utilising elements such as the 4:3 aspect ratio (coordinated by Andrew Commis) and the tightly-honed, nostalgic cinematography, sets like that of NAPOLEON DYNAMITE. With its humorous take on family dynamics and Australiana costumes, GIRL ASLEEP is set to become a modern day classic in the vein of THE CASTLE.
