Sister Midnight is a dark, comedic Indian odyssey about a bride, Uma (Radhika Apte), who embraces her will and inner spirit to live on her own terms. Uma is a smart, rebellious, small-town naïve misfit who arrives in the slums of Mumbai with her new husband, Gopal (Ashok Pathak), only to discover that she is completely unsuited for this new life and has little interest in being a housewife. She cannot break the shackles of tradition fast enough, and as her bracelets are removed, their feel and clinking sound are banished to be replaced by other constraints.
With little to no understanding of what she should do, unable to cook, and living in a hovel, Uma must ask her prying neighbor for help. Contributing to a humorous depiction of the true ideals of Indian married life, Uma’s neighbor, although reluctant, assists her as she strives to understand her supposed role as Gopal’s wife. Yet, she finds it difficult to comply. These moments with Uma create a unique humor that Sister Midnight offers and provide insight into a common reality, even if stretched thin by the end. Much like the oppressive nature of Mumbai, Uma is similarly constrained and desires to break free, which has been her character’s aim from the onset.
Gopal leads a life he understands little about, yet he accepts his path while grappling with his shortcomings, including a dead-end job and excessive drinking. He feels dumbfounded by his wife, who vocally addresses his inabilities and limpness, living in her shadow. Despite their one-room existence, illnesses and strange occurrences unfold as Uma attempts to create a home or a space with living plants and housewares. Through her transformation, Uma works exhaustively in her search for common ground with anyone and anything until she finds a group of women who embrace her and make her feel wanted—more of their presence might have provided, perhaps, greater understanding to the evolved Uma.
“Uma… arrives in the slums of Mumbai with her new husband”
With conviction, Uma finds a job that adds even more oddity to Mumbai life. However, she becomes erratic and transforms into a bold, driven woman through a form of animal mysticism, evolving into a dark and eccentric enchantress of sorts. In a bizarre yet humorous twist, she demonstrates an unusual power over animals, leaning more toward the vampire side of life than Shiva. Unable to embrace Uma’s newfound existence, Gopal falls by the wayside, and Uma must face another life hurdle. This time, she discovers unabashed freedom through a dusty and strange self-realization trip, less comedic and more spiritual.
Sister Midnight embarks on numerous unusual adventures throughout the film, offering glimpses of a world unfamiliar to many, not only in physical India but also for a young Indian woman struggling to comprehend where she is meant to exist as an outsider with abilities and an evolved sense of purpose. The story takes many tangents that could have led Sister Midnight in various directions, of which we only catch a glimpse.
At Sister Midnight’s world premiere in the 2024 Cannes Directors’ Fortnight, London-based Indian artist and filmmaker Karan Kandhari noted that the film took ten years to make and described it as an unforgettable journey. Masterfully, the film shows no signs of being dated and possesses a timeless quality that Radhika Apte conveys through her actions, emotions, and grit. By the end, Apte ensures that we remain on board, which serves as a bit of a metaphorical ending. With the addition of an appealing soundtrack from Interpol’s Paul Banks, who makes his debut as composer for Sister Midnight, Kandhari delivers a story one might never expect, lingering with you long after it ends, which is long-winded. He captures many details from set to screen with honest conviction, making them memorable within a very unusual but novel story.
"…a very unusual but novel story"
