The Man Who Sleeps

Before starting work on the film, Perec had written dozens of unpublished film scripts and published many critical reviews of other filmmakers. He met his partner, film director Catherine Binet, in 1974, and this may have inspired him to start work on a film of his own. He met Queysanne around the same time, and the two bonded over their shared love of Jerry Lewis, Billy Wilder, and other melodramatic works, as well as French auteurs Georges Franju and Jean Grémillon. Queysanne later said that despite the influences, Un homme qui dort bears no resemblance to the works of any of these artists.[4]

Before starting production, Queysanne and Perec watched Hiroshima mon amour together repeatedly, and Perec even included specific references to it in the film's script despite objections.[4]

Perec was long discouraged from filmmaking because he thought it was too consumerist, saying the industry was "entirely dominated by market ideology which [...] functions in 99% of cases as a reductive constraint."[7]

Queysanne pitched the film as, "three different works, image, text, sound, which form a story, a story which creates emotion," while Perec pitched it as "a feature film where there is only one character, no story, no events, no dialogue, but only a text read by voice-over."[4] The pair received funding from Dovidis, company known for supporting radically experimental filmmaking.[8] Additionally, the pair was able to get funds from SATPEC, a production company based in Queysanne's home country of Tunisia.[9]

Principal photography was done in Paris, France, primarily in a one-room chambre de bonne rented by the title character. In the room, he is recorded reading the works of Raymond Aron and Henri Lefebvre, two of the directors' favorite authors. He is also recorded roaming around fields and public squares, frequently visiting cheap restaurants and cinemas. Other locations include Perec's childhood home in rue Vilin. The pair intended to film in Clichy as well, but abandoned the idea. The film was recorded in black-and-white, despite color film being easily available.[4] The score was composed by Philippe Drogoz and Eugénie Kuffler, working together in the contemporary cabaret ensemble 010.[10] Though most of the recording was done in mundane environments, some non-realist settings are also used. Filming was also done in many open environments, such as abandoned classrooms and empty city areas. Perec particularly wished to use travelling shots, citing their influence on his literary work. He also wished to depict the protagonists environment as three-dimensional, organizing the images and drawing a vanishing point in every frame.[4]

Cinematography was done by Bernard Zitzermann, with the film being his first job as a cinematographer. He later went on to shoot for many popular directors, including Claude Chabrol.[11] The film was edited by Andrée Davanture and Agnès Molinard,[12] who attempted to make the film feel fluid and cyclical, ending the film on the same frame it starts with and using slow cross dissolves to transition between shots.[4]

The film was released theatrically on 24 April 1974. It was later restored and released on DVD in 2007, bundled with copies of the film's script.[4]

Un homme qui dort received some critical acclaim among its small audience. There is no entry for it on Rotten Tomatoes or Metacritic.

The film won the Prix Jean Vigo in 1974.[6] The film was shown out of competition at the 1974 Cannes Film Festival.[3]