Sister Midnight (2025) - Film Review

      Sister Midnight, 2025.

      Written and Directed by Karan Kandhari.

      Featuring Radhika Apte, Ashok Pathak, Chhaya Kadam, Smita Tambe, Navya Sawant, Dev Raaz, Chaitanya Solankar, Suhaas Ahuja, Masashi Fujimoto, and Daemian Greaves.

      SYNOPSIS:

      This genre-defying comedy follows a frustrated and misanthropic newlywed who uncovers her feral instincts, leading to unexpected scenarios. What starts as a deadpan comedic exploration of arranged marriage in Mumbai slowly evolves into a bizarre narrative that defies easy categorization. Such bold shifts often prove rewarding; in Sister Midnight, writer/director Karan Kandhari—drawing inspiration from Wes Anderson—portrays marital disputes and the ensuing surreal elements in the same dry manner. This approach allows lead Radhika Apte the freedom to showcase her character’s quirky mood shifts and behavioral changes. Her performance shines as she delivers a series of humorous reactions to stop-motion animated characters (which I won’t spoil), serving as both a comedic and mysterious reminder of her dubious choices.

      While this summary may lack specificity, the peculiar developments in Sister Midnight are best left for the audience to uncover. It's important to note that the film remains engaging even before the narrative takes a turn; Radhika Apte’s character, Uma, is not your typical arranged wife. She expresses her thoughts candidly, in ways that would likely frustrate or intimidate her traditionally-minded husband, who could never match her outspoken nature. At one point, she tells someone to “go **** a shovel,” continually resisting societal expectations tied to her gender role and behavior.

      Gopal (Ashok Pathak), her husband, isn’t irrationally angry or abusive; rather, he is somewhat inept, pretending to socialize with “the guys” only to later reveal he is alone. He avoids sexual intimacy with Uma, not only out of respect for their unfamiliarity (having been childhood friends at eight) but because of his overall awkwardness in relationships. Gopal spends his days working while leaving Uma at home to tackle mundane tasks like cooking, which she has no knowledge of or interest in learning, despite neighbors attempting to teach her.

      A sudden illness strikes Uma, and that's all to be revealed. This illness, along with taking a nighttime job, leads her into new realms of supernatural elements, without the film explicitly labeling them as such. Whether one considers the film as part of that sub-genre is up to interpretation.

      Nonetheless, these intriguing nighttime escapades are beautifully captured by cinematographer Sverre Sørdal, who skillfully employs shadows and silhouettes. The daytime scenes of Mumbai are also visually appealing, balancing the chaotic feel of her cramped living conditions with a sense of spaciousness and freedom. Furthermore, the inclusion of stop-motion animation adds an extra layer of visual intrigue that enhances the film's unconventional experience. The American-influenced soundtrack additionally injects vibrancy into the story.

      However, in pushing the limits of oddity while still focusing on a character study revolving around identity, role, and personal fulfillment, Sister Midnight leaves little room for emotional resonance or complex dynamics. In its latter segments, it risks getting completely lost in its own weirdness but generally remains buoyed by Radhika Apte's committed and expressive performance, whether she is dishing out insults or reacting to the chaos surrounding her.

      Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★

      Robert Kojder is a member of the Chicago Film Critics Association, Critics Choice Association, and Online Film Critics Society. He also serves as the Flickering Myth Reviews Editor. Check here for upcoming reviews and follow my BlueSky or Letterboxd.