Sister Midnight Review: Radhika Apte Is Glorious In Gleefully Anarchic Drama

Karan Kandhari바카라�s Sister Midnight presents a singular Hindi film heroine. Newly married, Uma (Radhika Apte) moves from her rural home to Mumbai. Initially, she바카라�s a fish out of water in the city. Hurled into domestic conjugality, Uma is completely at sea. She cannot identify with its rules and presupposed expectations. Chafing against it, Uma struggles to settle into this new identity. She never sweetens or underplays her struggle: 바카라�I바카라�ve never run a household before.바카라� In a single day, she spends all the money her husband Gopal (Ashok Pathak) gives her for lasting a week. He too turns out terribly fledgling, pushed askew by her almost-fearsome, ruthless honesty. Unapologetic about her needs and desires, Uma wreaks mayhem, just because she willfully goes against the tide.

In a vision of marvelous eccentricity, Apte바카라�s richly embodied performance flirts with comedy, fury and existential disaffection바카라�all in a tightly held breath. Liberated, almost transcending above mere everyday mortality, the actress brings exhilarating, unpredictable power and peculiarity into the most mundane rhythms. Every slight bodily twitch reverberates with incredible livewire energy. Apte makes the wildest turns in Sister Midnight perfectly plausible, springing as a knee-jerk reaction to claustrophobic domesticity. It바카라�s a performance that doesn바카라�t hide its orchestrations, rather revels in it.

Uma has no qualms, no hesitation in speaking her mind, expressing her stark discomfort. She isn바카라�t just someone who refuses to take things lying down; rather, she is annoyed with everything that바카라�s suddenly asked of her. As the rules of an Indian arranged marriage become clear바카라�the husband can afford to be lax, the wife diligent바카라�Uma does try to fit in. But increasingly, her resistance takes over. She realizes quickly that she must venture out. Initially, a bewildered Gopal laments why she couldn바카라�t be just like any regular person. Bitter and seething, she has no patience for fools or being tactful in a new life. Instead, she charts her own course when she notices her husband fumbling spectacularly early into the marriage. He, too, is lost, startled by her lack of inhibition and blinding assertiveness. Uma freely voices her disappointment in his ineptness바카라�his absence as someone she could talk to, rely on. Apte takes Uma바카라�s frustration and molds it in myriad shapes바카라�a spectacle of spirited defiance. Early in the film, Uma gets her wedding bangles broken바카라�them being an inconvenience in housework. She바카라�s strongly warned it바카라�s inauspicious but couldn바카라�t care less.

But Uma바카라�s is also a remarkably dynamic marriage. Kandhari doesn바카라�t lazily render the husband an asshole but radically treats Gopal as someone slowly learning to get on Uma바카라�s wavelength, instead of her having to tame herself. Nothing dents her ragged, fierce, singular stubbornness. In endlessly playful, deliciously violent ways, Sister Midnight is the portrait of a woman discovering the world바카라�and in the process, herself. Much isn바카라�t to her liking. Society is designed to stifle her autonomy and desire. But at every step, Uma widens the ambit of what바카라�s permissible.

Uma and Gopal were friends as kids. However, she barely got to know him, how he has turned out to be, before the marriage got fixed. Everyone just keeps rejecting Gopal, while she바카라�s declared 바카라�insane바카라�. Hence, their match is struck, and she is sent far away from home to live with him in the city. As social structures바카라�and the conditioning that comes with them바카라�crashes upon the two, they have to freshly re-align their relationship. Watching Uma and Gopal gauchely traverse their marriage, through ample missteps and gathering warmth, forms one of Sister Midnight바카라�s most delightful gifts.

Critically, Kandhari doesn바카라�t strap Uma with a lonely misfit바카라�s fate. With time, she finds her own little community바카라�motley strangers who guide her through unfamiliar routines바카라�like her neighbor Sheetal (the ever-reliable Chhaya Kadam spouting home truths on the dimness of men with casual spunk) teaching basic cooking, the lift man who takes her to the doctor, or the trans sex workers passing her a cup of tea on her way home from work. It isn바카라�t that the film dials down big-city isolation or its vivid stranglehold. At one point, instead of returning home after work, the lift man goes to the terrace. Uma, who바카라�s about to head home and senses a tug of fear, rushes to be with him. Kandhari builds scenes like this with economy and effectiveness, weaving dark uncertainty with the light that companionship can bring. It바카라�s a delicate moment staged with quiet kindness. Sister Midnight is both about the overwhelming, maddening, suffocating bustle of cities and stray pockets of comfort and alternative kinship. The city crushes, often reminds one of their sheer inconsequentiality. But it also holds wonder, rewarding the curious and bold. Uma navigates the streets of Mumbai with fearless abandon, prising out a life of adventure, removed from marital banality. Her journey with no destination is memorably complemented by an anachronistic soundtrack melding everything from Interpol to Cambodian ballad바카라�each needle-drop as dazzlingly surprising as the streaks of visual absurdity.

Sister Midnight hurtles in increasingly wild directions, as Uma embraces every inch of her wanton side. Working with the film바카라�s vignette-like structure, Napoleon Stratogiannakis바카라� editing fractures and disrupts, while Uma moves from bloodied misadventures with animals to an all-women monastery. The editing displays the same abrupt spurts of energy that fuels Uma바카라�s strange appetites. Even as Uma descends further and deeper into her ravenous impulses, she is disoriented. At times, she apologizes before going on the rampage, only to sink her teeth with greater primal hunger. Sverre Sørdal바카라�s camera leans into an elaborate visual design바카라�occasional bright pops of color within muted, immaculate frames. It's the kind of film that lets its artists wander with giddy, uncontained mischief-Sørdal and Apte use it to their biggest strengths.

In Sister Midnight, Kandhari goes all out, speeding from surreal stop-motion to Kurosawa homages, briskly cutting between each stormier stage of his indelible heroine. Admittedly, the film does go off the rails in the latter stretch, seemingly unsure of where to take Uma. But Apte grounds every rough curve with such unflinching conviction and gamely passion that she makes the film stick the landing.