User reviews

This movie is pure chaos, and I loved every second of it. It tells the story of Uma, a young bride trapped in an awkward arranged marriage in Mumbai. As loneliness and frustration build, Uma's descent into animalistic urges becomes both horrifying and strangely liberating. Visually, it's stunning-vibrant, chaotic, and beautifully unsettling. There's a surreal, punk-rock energy that reminded me of Wes Anderson on a horror binge. It's messy in a way that feels deliberate, and I admired the boldness of its style. Not every moment works, but the ones that do are unforgettable. This is one of those films that makes you feel like you've stepped into a dream-or maybe a nightmare.

Radhika Apte had been away from the screen for a while, and that alone made the trailer of Sister Midnight an exciting prospect. She seemed completely in her element. The trailer promised a quirky dark comedy with strong social subtext. Unfortunately, that promise is where it largely ends. My overall viewing experience was, frankly, quite meh. I found myself constantly checking the progress bar, wondering how much more was left.

The film starts on a strong note. It wastes no time in establishing the central characters and their situation. The scenes are short, the editing is jumpy, and initially, it works. For a while, you do get what the trailer promised. Some moments are genuinely funny. In fact, this feels like a film that could be chopped into a hundred Instagram reels - watched in any order, scrolled through casually - and perhaps enjoyed more than as a single feature-length experience.

However, while the quirky editing and soundtrack hold up in isolation, the overall narrative - or rather the lack of one - seriously tests your patience. As the film moves into darker territory with elements of magical realism, it fails to generate much emotional impact.

Radhika Apte's stellar screen presence is the only thing that keeps the film from completely collapsing. She is the sole reason I managed to sit through it.

Approach this one only if you are genuinely into experimental cinema.

"A Girl Walks Home Alone at Night" set in India. In the same surrealistic/ magic realism space of "I'm a cyborg but it's ok" or "Thirst", but inspired without feeling derivative. The surreal tone works and the film finds originality within its influences. The stop-motion goats were off-putting and didn't work for me. I reduced half a star just for that. The overall effort is commendable, an admirable achievement for a debutant director.

How often do you sit down for a film with no expectations and walk away amazed by the sheer uniqueness of the experience? Karan Kandhari's dark comedy Sister Midnight does exactly that.

The film begins as the story of a newly arranged couple who arrive in Mumbai and try to make sense of each other, their marriage, and the city. It then starts taking strange turns as the layers of Uma's (Radhika Apte) character begin to unravel. What may initially seem like a haphazard collection of scenes in the first half is, in fact, a carefully constructed portrayal of Uma's character arc.

Radhika Apte is, as always, superb in portraying the wildly eccentric Uma. She occupies almost every frame of the film, yet never becomes tiresome, owing to her constantly curious eyes and wandering mind. She is perpetually trying to make sense of her surroundings, the city, and even herself. The stiffness in her body language adds to the character's quirky nature. One of Uma's most striking traits is that, despite her actions, there is an unmistakable innocence to her, entirely free of malice. All of this makes her one of the most uniquely realised characters in recent cinema.

Uma's husband Gopal (Ashok Pathak) is a timid young villager who is aware that his wife is strange, yet he himself fails to fit the world's definition of "normal". He is willing to go to any extent to make sense of their marriage and of Uma. Ashok beautifully captures Gopal's fear and naivety through his awkward, closed-off, and servile body language.

This duo seems to have ended up with each other because they are too weird for the rest of the world. They share many moments of strangely compelling chemistry. The scene where Gopal tells Uma that they need to go to the beach highlights their comic timing, while the shot where the door opens and Uma greets the neighbours with an exaggeratedly fake "Helllooo" is genuinely hilarious.

The film's music blends original compositions with classic rock tracks. The pace of the background score is often higher than that of the scenes unfolding, but it effectively reflects Uma's rebellious nature and further amplifies the film's eccentric tone.

Cinematographer Sverre Sordal captures the slums of Mumbai with remarkable sensitivity, making the city feel like a character in its own right. A striking dolly shot moves past the doors of several homes, offering fleeting glimpses into the lives of the families living there. Details such as a tulsi planted in a plastic container, a baby's clothes hanger, or plastic oil cans further immerse the viewer in this world. Inside Uma's house, two small windows pour shafts of sunlight into a dark, cramped room, and this natural lighting elevates nearly every interior shot.

Several scenes featuring rapid, sharp body movements, paired with swift camera motions and cuts, add yet another layer to the film's eccentric visual language.

In this bizarre world of magical realism, stop-motion animated animals, strange rituals, an ash-clad sadhu, and an unrealistically absent or ineffective administrative system coexist within an extremely rooted and realistic setting.

Some viewers may find this world too strange to engage with, but those willing to surrender to the director's vision will discover a film that gleefully breaks conventional cinematic moulds and offers a truly singular experience.

"Sister Midnight" is fundamentally a social satire that employs elements of dark comedy to critique the redundant rituals and traditions which are often masqueraded or rather endorsed as societal "norms", that everybody has to adhere to.

The messages are delivered with both ingenuity and wit, addressing a wide range of topics; from age old arranged marriages, lack of empathy among community members to pollution, and deeply rooted superstitions.

People who generally appreciate such writings are likely to find it pleasant.

However, it is important to note that some may still perceive the humor as unnecessarily crass, overly stoic, or simply unfunny.

Moreover, the pacing has its problems as it dips randomly, which could lead to growing frustration.

One this is certain, this would not be everyone's cup of tea!

Where to begin with this movie? Well first a heads up; the trailer gives away nothing about where this movie ends up going. I'm not going to spoil it here although in all honesty it's not particularly interesting.

The movie opens promisingly by introducing our main characters Uma and Gopal, an unhappily (recently) married couple living in Mumbai. Uma has been uprooted from her home and moved to a place she doesn't understand.

The first 45 minutes or so are her trying and failing to get to grips with her new life with her unsatisfactory husband. The first 15 minutes are fine with nice world building, artistic cinematography somewhat reminiscent of Wes Anderson. There are some comedic elements within quite a dialogue sparse set of scenes that are essentially a series of vignettes. But then this just goes on... and on... and on. By 45 minutes in this plodding plot becomes stale and boring.

Then there is the "twist". Uma comes down with an odd sickness. It's not really apparent that this is a plot point until it is repeated multiple times and the audience eventually get the idea of what is happening by brute force.

Then things just get bizarre. I won't say any more to avoid spoiling what little novelty the film has. But it's just all so weird... and this means it's a real struggle to figure out what the movie is supposed to be about.

Such slim pickings of themes and a barren plot will be fertile ground for some (i.e critics) to come up with a plethora of interpretations that somehow rescue the movie from the yawnfest I felt it was. There has to be some reason critical reception for this movie is good right?

Unless the movie is supposed to be a modern retelling of some Indian folklore story I am ignorant of, I am really struggling to understand what it is supposed to be about. This would be less of a problem if the rest of the film has good pacing, funny dialogue or some thrills but it has none of these. It would be a difficult watch even if it was a 20 minute short, let alone a 110 minute feature.

3/10.

Yeah I do like watching dark comedies, but not without storyline. It was good with background music, aesthetic scenes but what about the main thing, the driver of the movie, the main story.

Just don't make anything in name of dark comedy.

Totally disappointed.

Atleast Agra by Titli maker's was much better than this.

In trailer I was much excited after seeing the castings and was just dying out of my excitement but when I watched I just feel like giving up my favourite genre of dark comedy movies. But then I thought of some best dark comedies...Dev D, Andhadhun, Delhi belly and Titli.

Please yaarr in dark comedy se mera Vishwas na uthaaao.

The movie is exactly what its title suggests - Nothing. If the purpose of the movie is to portray the mundane, uneventful life of the protagonist, there are many ways to showcase that than to make the movie itself dreary and mundane. The first exchange of dialogue is after 8 minutes which should put things into perspective.

The newly weds struggle to settle as the wife quickly become disillusioned with the challenges of marital throes. She takes up a janitors job that requires her to work nights, sleeping during the day. She starts growing increasingly sensitive toward sound and unable to keep food down. Thus beginning her transformation which most viewers will miss noticing till they reach the end, those brave souls that do that is. At no point in the movie does the storytelling get any better. The first ten minutes is all that's required to know the pace of the movie which is excruciatingly slow. Even documentaries have more thrill in them than this.

First of all, what compelled me to write my first-ever review is that a film so unique and whimsical isn't rated at least 9/10. It's surprising to see so few votes, especially when movies of this flavour and depth are seldom made in India.

The story follows a married couple returning home to begin their new life together. As the narrative unfolds, what starts as a simple tale of a struggling couple slowly transforms into chaotic energy, keeping you on the edge of your seat. Uma's whimsical behavior and her reluctant surrender to her natural desires are both unsettling and mesmerizing. The film's dark humor and distinctive tone infuse every moment with depth, delivering immersive thrills.

Radhika's commitment to the character and performance is top notch. She brings the story to life with a world-class portrayal that lingers long after the credits roll.

The director's vision is clear-every scene feels crafted, emotionally filled, revised, and perfected before execution.

This film is intended for mature audiences (18+) due to its mature narrative and a brief intimate scene. If the photography and technical aspects were up to today's advancements, I would not hesitate to give it a solid 10 as a devoted fan of this movie.

Enjoy the movie but skip the popcorn this time !

This movie is much hyped. Maybe it has a lot of paid promotions being done on Instagram and that is why every second influencer is trying to sell this as a unique movie.

But the underline fact remains that this movie has no story neither the director has any sense of direction neither can anyone make sense of what the story is all about.

Just like some elites try to show off their knowledge of fine art by appreciating abstract paintings and drawing their own conclusion of what the artist is trying to convey similarly a lot of reviews have been written about how the lead in this movie is reinventing herself etc etc.

Hardly any coherent correlation of what is actually happening and what is being imagined. A complete nonsense of a movie.

Pathetic to the core.

Greetings again from the darkness. London-based Indian artist Karan Kandhari chooses a misfit couple's arranged marriage as the basis for his debut feature film. As writer and director, Kahdhari delivers a psychological comedy that goes a bit dark at times, yet the abundance of creativity and a terrific lead performance keep us anxious to see what happens next.

Uma (Radhika Apte) and Gopat (Ashok Pathak) are obvious misfits as spouses as evidenced by their first night as husband and wife. Uma is eager to consummate the marriage, but Gopat either has no interest or is so intimidated by his assertive and forward-acting bride that he prefers to ignore her - other than asking her, "Why can't you just be normal?" With no sexual activity, and the inability to cook or clean, Uma becomes bored and frustrated, resulting in her proclaiming sarcastically, "I'm a domestic Goddess". This leads her to take 'wife' lessons from her neighbor Sheetal (Chhaya Kadam). It's here where we learn that husbands will eat any dinner if enough chili and salt is added, and more insightfully, "men are dim."

Ms. Apte brings a physicality (as well as deadpan mastery) to her terrific performance and her wide eyes convey much of her thoughts, especially as her transformation takes place. She admits, "This is just how God painted my face", yet as time rolls on, she's clearly not well physically or emotionally. This causes Gopat to step up, while also allowing filmmaker Kandhari to infuse some stop-motion animation as the level of bizarreness jumps. Cinematography from Sverre Sordal and film editing by Napoleon Stratogiannakis perfectly enhance the oddity, as does the choice of music ... including songs by The Stooges, Buddy Holly, Marty Robbins, Howlin' Wolf, and even The Band's "The Weight".

Between the stifling heat and the less-than-elegant accommodations, it's doubtful Mumbai's Tourism Bureau appreciates the setting, but for movie lovers, there is significant entertainment value with this one as it exposes the misery of being trapped. Just be careful with that cookie tin.

Opens in NYC May 16, LA May 23, nationwide May 30.

Worse than Gehraiyaan. Torture to the mind. Why do they even try to make a movie. And Radhika Apte as usual queen of bad movies. I think as soon as they think of a bad movie to be made they think of her. And what were the producer and Director even thinking. A waste of time which you will never get back in your life.

An amazing film with lots of Stooges,T. Rex,etc music--sorry to be short but my mother is asking for her rotis and chapatis lol thaanks great movie!

Repeating for valid review of 300 words lol An amazing film with lots of Stooges,T. Rex,etc music--sorry to be short but my mother is asking for her rotis and chapatis lol thaanks great movie!

Thanks.

Feeling so empty after watching this, Respect the audience, who put their time and efforts to watch your content.

I request you guys please create shorts if there is no good story, it will save time and money for both of us.

Just putting couple of famous/viral characters can't withstand if there is no story, no character building. There is no/odd reactions of all the side characters, It's not clear after watching the trailer and even in the first half that what the story teller wants to deliver.

Sister Midnight is one of those rare films that starts off feeling raw and real, and then slowly descends into something completely unexpected. What begins as a story about a woman trapped in a dull, affectionless marriage turns into a surreal, psychological journey filled with dark humor and horror. Radhika Apte is absolutely brilliant-her performance is both haunting and deeply emotional. The film's second half is wild, unsettling, and hard to look away from. It won't be for everyone, but if you're into bold, strange cinema that pushes boundaries and makes you think, this one is worth watching. It stays with you.

"Uma" (Radhika Apte) lives in a small tin box of an home with her new husband "Gopal" (Ashok Pathan). She hasn't a clue how to cook their food and neither seem to have much appetite to consummate their nuptials, so the relationship is distant and she has a bit of a temper which the rather subdued gent tends to run away from (and drink). Luckily, she manages to befriend her neighbour "Sheetah" (Chhaya Kadam) and they share stories about how useless men are whilst she struggles with the boredom of life. She eventually decides to get a job as a cleaner which breaks up the inanity a little, but she also starts to find herself drawn more and more to the animal kingdom. A passing encounter with a goat, then a bird, starts to see her question her almost vampiric behaviour. When an even more curiously tragic incident occurs, the story becomes increasingly surreal and the lines between truth and fiction become almost macabrely blurred. Apte is quite entertaining here as her aggressive and slightly stand-offish character becomes more eccentrically engaging and Pathak also delivers quite well as the hapless husband, but I found the story all too weak and repetitive for too long before the last ten minutes or so finally raise some more interesting aspects of superstition, perhaps even witchcraft, and shines a light a little on the vagaries of her tight knit community who are quick to make snap judgements. Though it's not graphic, it's not for the squeamish and it's those few scenes where most of the dark comedy kicks in, but again there weren't really enough of them to sustain this. It has it's moments and is worth a watch for "Uma" wandering lonely as a goatherd through the city beating a mop and pail, but it will look just as good on the telly.

The director watched a Kurosawa movie after getting high and decided he can be one himself. He also decided to part homage to his inspiration, but how do I squeeze in the homage. In a roadside dhaba where the protagonist stops, he shows an old dhabawala watching a japanese movie...!! It's just one of the many absurdities in a movie made a rich kid who made this movie not because he has the means but because he had time and weed.

Kudos to Apte and the crew for wholeheartedly trusting and encouraging this tomfoolery. Next time I'd request them to be a bit more judicious when gifting chances.

F#U#

Sister Midnight, directed by Karan Kandhari and starring Radhika Apte and Ashok Pathak, is a refreshing change from the usual formula of loud, larger-than-life action dramas. This film chooses realism over spectacle and manages to leave a lasting impact through its grounded storytelling.

What truly sets Sister Midnight apart is how it handles serious themes like gender roles, class struggles, and power dynamics. These are portrayed with subtlety and nuance, not with preachiness or melodrama. The film doesn't take sides, it simply reflects the world as it is, through sharp storytelling and strong characters.

While it may not appeal to audiences who prefer mainstream entertainment, Sister Midnight offers something rare: a well-crafted, thought-provoking film that respects its viewers' intelligence.

It's wonderful to see that, for a few years now, genre cinema that isn't made in the USA has managed to revitalize it, sometimes doing nothing more than reappropriating the codes to serve a bigger idea. It occurs to me to quote Antonio Gramsci when he said "The old world is dying and the new world struggles to be born: Now is the time of monsters". Although in all eras there has been room for monstrosities that represented real problems in society, from the Cold War to McCarthyism, today seems to be the culmination of the age of the monster. An era in which metaphors have come full circle and begun to self-ironize. The best contemporary films about monsters are, in fact, about old monsters, those that have never gone away and that, by golly, are still here. Their cinematic existence is endowed with a meta contemplation that finally makes horror cinema a supreme species and language for those of us who perceive the world as it should never have been.

I have never written a review before in my 30 years of film watching.

This was so bad , it compelled me to write one !!

The director has tried to create a new genre of film by trying to mix too many things in one single film.

But each of those ingredients has been prepared so bad that the final product turned out to be a tasteless, unwatchable thing.

The director is heavily influenced by Wes Anderson when it comes to how the characters speak and behave. They speak and walk funny.

The music when existed was nothing but a bunch of misplaced english songs (mix of folk, country, hard rock).

I understand it was created on a tight budget, but in the few scenes where CGI has been used, it looked like a 10 year old kid who just learned 3d animation, worked on them.

Overall, do yourself a favour and absolutely skip this at any cost !!

I'm a great admirer of Radhika Apte. She's a great actress. But this one was a bad choice of script for her.

Watch the movie for how absolutely funny, quirky, odd and dark it is, great soundtracks, the aesthetic is just oddly perfect.... Radhika apte is phenomenal as always.

The plot is absolutely mind bending and well written.

The movie might not make sense but it will make you laugh, just don't find coherence, have some imagination and humor.