Sister Midnight review – an eccentric, quirky gem of a film
Directed by Karan Kandhari and featuring a cast that includes Ashok Pathak, Chhaya Kadam, and Radhika Apte, Sister Midnight invites viewers into a world that is anything but conventional. The film’s protagonist, Uma (played by Apte), ignites curiosity with her nontraditional journey.
What unfolds is a narrative that blends genres, revealing a misanthropic newlywed surrendering to her primal instincts. The familiar notion of a traditional Sunday is humorously disrupted when Uma queries, “What do normal people do on a Sunday?” Her husband Gopal (Pathak) responds, “We’re not normal people,” and he’s spot on. Following their arranged marriage, Gopal quickly succumbs to sleep upon arriving at his modest abode, leaving Uma grappling with domestic duties she hardly knows how to navigate.
Initially steeped in silent deadpan humor, the film’s tone shifts dramatically once Uma begins to speak, showcasing her candid, often crude wit. With her husband frequently arriving home late and intoxicated, Uma finds herself abandoned to her thoughts. To fill the void, she befriends her neighbor Sheetal (Kadam) for cooking lessons, while also taking a job as a cleaner far from home, introducing a fascinating dynamic of loneliness and connection.
As the days roll by with Gopal’s absence, gossip simmers among the neighbors. However, Uma’s true nature eventually seeps through, drawing upon elements of horror that morph her everyday reality into something eerie and tumultuous. Cinema references pepper the narrative: an old monochrome film on a teahouse TV echoes the vibes of classic samurai themes, paralleling Uma’s own rebellious path.
Sister Midnight is a cinematic cocktail that balances humor with horror, introducing reflections of characteristics associated with vampires, witches, and folklore. Throughout her journey, Uma finds herself surrounded by a diverse cast of marginalized individuals, from a gang of trans sex workers to a lift operator who shares her affinity for the nighttime. The unexpected arrival of a Hindu priest during a cremation scene and the presence of Buddhist monks reinforces the film’s exploration of the unconventional.
Visually and thematically akin to works by Jim Jarmusch or Ana Lily Amirpour, Sister Midnight is a captivating mishmash of genres, always defying narrative expectations. The film portrays an absurd weekend getaway that devolves into chaos, characterized by contrived adventures and culminating with a train ride under a full moon—a full circle back to where it began. Yet, this quirky journey transforms Uma into a more empowered and independent figure, defining her as someone far from ordinary.
Ultimately, Sister Midnight is a standout, reflected through its oddball charm and introspective storytelling, showcasing a heroine who is anything but typical. It’s a film that celebrates the journey itself, rather than merely the destination.
