Georgia Bernstein’s ‘Night Nurse’ Premieres at Sundance 2026, Exploring Themes of Manipulation and Desire

Georgia Bernstein’s psychosexual thriller Night Nurse made its debut in the NEXT section at the 2026 Sundance Film Festival, offering a tense exploration of codependency and psychological manipulation. Bernstein, who wrote and directed the film, described it as a “fun-house-mirror of my life,” citing personal experiences with relationships and self-identity as key inspirations.

What Inspired ‘Night Nurse’ and How Did It Come to Be?

Bernstein’s film draws from a real-life experience involving her grandmother, who fell victim to a phone scam. “The caller impersonated my brother and manipulated her into approaching a bank,” Bernstein explained in an interview. “It was a strangely intimate performance, and I kept thinking about how every fake crisis hides a real one.” The film’s premise—centered on a caregiver navigating a dangerous emotional dynamic—mirrors Bernstein’s own reflections on caretaking and loss of selfhood during a challenging period in her life.

How Did Bernstein Build the Cast and Crew?

With a low-budget production, Bernstein leaned on personal connections to bring the project to life. “It was a family affair,” she said. “My grandmother’s house was our main set, and her friends became background actors.” Cemre Paksoy, cast as Eleni, was a close friend and collaborator. “Her performance was instinctive and emotional,” Bernstein noted. “It’s the kind of work that can’t be engineered.” The director also highlighted the role of cinematographer Lidia Nikonova, who joked about being “born to shoot lusting nurses,” a sentiment that resonated with the crew’s creative energy.

Why Does This Story Matter Now?

What Challenges Did Bernstein Face?

Despite this, Bernstein praised the collaborative spirit of the team, calling it “a state of collective alignment.”

How Did Bernstein Start Her Career in Filmmaking?

Bernstein’s journey began with aspirations to act, but a theater teacher’s blunt feedback steered her toward directing. “I was embarrassed to say I wanted to make movies for a long time,” she admitted. “Eventually, I had to let go of that fear.” Her transition was marked by a shift in perspective: “When you’re making a movie, everything is working against you, so you might as well get out of your own way.” This philosophy, she said, remains central to her work.

What’s Next for Bernstein?