Indonesian filmmaker Edwin debuts his latest work, 'Sleep No More,' a unique blend of horror and comedy, at the Berlin Film Festival's Special Midnight section. The film departs from conventional Indonesian horror by focusing on themes of capitalism and labor exploitation, drawing inspiration from the social commentary often found in Jordan Peele's films. Set within a decrepit wig factory, the narrative explores the psychological and physical toll of relentless work through a surreal and unsettling lens.

Edwin, known for his keen observations of modern life, injects 'Sleep No More' with a distinct anti-capitalist message. The movie is set in a rundown wig manufacturing plant where workers are pushed to their limits by exploitative management. This intense environment creates a breeding ground for a sinister presence that preys on the sleep-deprived. The plot follows two sisters investigating their mother's mysterious demise, while their younger brother, possessing unusual healing abilities, becomes a target for the factory's lurking evil.

The director emphasizes that while supernatural elements are present, the true horror of the film lies in its stark portrayal of everyday economic realities. He highlights the pervasive issue of labor exploitation and inhumane working conditions in Indonesia, noting how these issues have become alarmingly normalized. Edwin observed a striking image in Jakarta of exhausted, zombie-like commuters, which became a foundational concept for the film's social realism. This observation fueled his vision of a horror narrative deeply rooted in the struggles of the working class.

During the production's research phase, Edwin and his team discovered a functioning wig factory in Bali. This factory, where entire families toiled to create elaborate hairpieces for international distribution, provided a naturally macabre setting. The process of boiling human hair, weaving strands onto blank mannequin heads, and combing wigs with spiked pallets offered an inherently creepy atmosphere that required minimal artistic embellishment. The director was particularly struck by the disconnect between the workers, who were unaware of Broadway—the destination for many of their creations—and the global capitalist system they served. This alienation, where laborers are detached from the ultimate purpose of their work, reinforced his confidence in the universal resonance of his anti-capitalist themes.

Edwin reflects on the pervasive nature of monotonous, unfulfilling labor, suggesting that many individuals might find themselves in similar situations of working without a clear understanding of the larger impact of their efforts. This contemplation of the human condition within a capitalistic framework forms the philosophical core of 'Sleep No More,' transforming a horror-comedy into a profound social critique.