The Nutty, Colorful, and Moving Sister Midnight Is Well Worth Seeing

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Karan Kandhari’s film, titled “Sister Midnight“, is a vibrant and unusual exploration of the struggles faced by a young woman in a working-class district of Mumbai. Much like a journey that begins here and concludes far beyond our expectations, this movie takes us on an unexpected trip. The shifts in tone and narrative are genuine, stemming from the organic twists rooted in character development, which is commendable for a first-time feature director. Following its premiere at Cannes last year, the film is now being screened in New York and will be expanding to Los Angeles and other locations starting this week. With imaginative cinematography and an eccentric soundtrack that blends classic rock, metal, and Cambodian soul, it’s a captivating experience best enjoyed on a large screen.

Instead of explaining the specifics of “waaay over there”, I’ll clarify what “over here” signifies. The movie starts with a young couple, Uma (played by Radhika Apte) and Gopal (Ashok Pathak), who arrive in a bustling city after getting married. They hail from the same village, but they weren’t deeply in love before marriage, as Uma admits later. It’s clear that they are not cut out for marital life, especially not with each other. Uma lacks a domestic bone, and Gopal appears to struggle even with undressing in front of his wife, let alone engaging in any intimate activities. They hardly communicate, and the movie portrays their interactions with a blend of comedy and empathy. Uma expresses her confusion about this new environment with her large, questioning eyes, while Gopal avoids looking at her; he seems to prefer going out for drinks, possibly with his colleagues or even alone.

As a movie enthusiast, I find myself immersed in a bustling metropolis teeming with 21 million souls. My attempts to connect with Gopal seem futile, and the relentless energy of the city outside my door becomes overwhelming. The director masterfully captures this on-screen, filling each frame with people, shadows, and vibrant colors as he follows me through the city at night along narrow streets.

The setting is a tight-knit community of one-room shops and shacks, where I catch fleeting glimpses of other worlds behind those doors and windows, pulsating with life. The weight of humanity, its variety as well as its monotony, gnaws at my consciousness. At one point, I find myself on a bus filled with women adorned with bangles; the entire vehicle vibrates deafeningly as it moves. Kandhari transforms this potentially realistic setting into an act of whimsical expressionism.

Sister Midnight shares little resemblance with Martin Scorsese’s Taxi Driver, but the film still evoked similarities in terms of its energetic style and portrayal of a character who is both apart from society and deeply entwined within it. Eventually, Uma secures employment as a night janitor at a shipping agency, leading her to venture out more during the night. The movie’s later, unforeseen turns could potentially delve into genre territory, but fortunately, it remains grounded in emotional depth and character development – a welcome respite. (Rest assured, I am intentionally holding back on revealing too many details, as this film isn’t primarily about its surprises.)

Today, numerous filmmakers often leverage personal stories and compelling characters primarily as a foundation for genre-based spectacles. This trend has worsened since independent distribution systems have been dominated by entities promoting horror, thriller, and fantasy productions. It appears that the industry is less interested in sincere dramas these days – or at least, that’s the message they seem to be conveying. However, Sister Midnight continues to maintain its focus on Uma’s personal journey, her detachment from the world, her quest to mend her marriage, and her unexpected experiences marked by the strange, absurd, grotesque, and humorous. Despite being headstrong, an outcast, and striving for what she believes is right, Uma keeps the film unpredictable and surreal, offering a unique viewing experience.

This concept is quite intriguing, but it lacks effectiveness without the enacted scenes. In a dialogue-sparse manner, Apte skillfully conveys Uma’s rich inner world. Her facial expressions suggest various emotions, making us feel as though she experiences each one genuinely. When she gazes at her husband with a mix of contempt, pity, and love, it mirrors more accurately how people truly regard those close to them in everyday life, unlike many films. As for Pathak’s character, he transforms what could have been a minor role — the drunk, absent-minded spouse — into a complex portrayal of this man’s fear and helplessness. Despite his flaws as a dramatic character, he radiates inner strength. This depth makes Sister Midnight even more captivating and, ultimately, more heart-wrenching.

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2025-05-20 01:54