Radhika Apte’s ‘Sister Midnight’ – A Darkly Twisted, Blood-Soaked Marriage Comedy

British director Karan Kandhari’s Sister Midnight is a bold, darkly humorous, and delightfully grotesque exploration of a young woman’s struggle against societal expectations. Set in Mumbai, this UK-financed, Hindi-language black comedy follows Uma, a newlywed bride who quickly realizes she is utterly unsuited for her arranged marriage. What follows is a wildly original, blood-soaked tale of rebellion, isolation, and self-discovery, anchored by a mesmerizing performance from Radhika Apte.

A Subversive Story Told Through Striking Visuals

Sister Midnight does not just challenge storytelling conventions—it disregards them entirely. The film’s first ten minutes unfold with barely any dialogue, relying instead on powerful visual storytelling. Radhika Apte conveys a deep sense of alienation and discomfort through Uma’s rigid posture, anxious glances, and hesitant movements. The camera captures her unease with striking precision, emphasizing the suffocating nature of her new life.

Karan Kandhari, a former music video director, brings a kinetic energy to the film, structuring it into distinct vignettes that pulse with urgency. Shot on 35mm film, Sister Midnight is drenched in rich, saturated colours that amplify its dreamlike, almost surreal atmosphere. Every frame is meticulously crafted, evoking the meticulous absurdity of Roy Andersson’s Songs from the Second Floor while maintaining a distinctly Indian flavour.

 

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A Darkly Comic Descent into the Macabre

What begins as a portrait of marital misery soon takes an audacious turn into the bizarre. Uma’s rejection of her oppressive circumstances manifests in a shocking and grotesque way—she begins feasting on live birds and small animals, draining them of blood with eerie, unsettling relish. But the horror does not stop there. In a beautifully weird twist, the creatures she consumes mysteriously come back to life, brought to the screen through stop-motion animation that adds a layer of whimsical horror to the film.

This vampiric transformation sets Uma on a path of rebellion, leading her to unexpected allies. Among them is a group of Hijra sex workers—marginalized individuals who embrace her as one of their own. As she roams the streets of Mumbai, her every step is a declaration of defiance against a world that seeks to confine her. The film ultimately becomes a celebration of outsiders, a story about finding freedom in the most unlikely places.

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A Soundtrack as Wild as the Film Itself

Given Karan Kandhari’s background, it is no surprise that Sister Midnight boasts an electrifying soundtrack. Composed by Interpol’s Paul Banks, the score is a genre-blending masterpiece. The film’s needle drops include everything from blues legend Howlin’ Wolf to punk icons Iggy Pop and the Stooges. The title itself is a nod to Iggy Pop and David Bowie’s 1977 collaboration, a fitting tribute to a film that revels in its rebellious spirit.

A Wild, Uncompromising Vision

Sister Midnight is a rare gem—fearless, unpredictable, and utterly captivating. Its blend of horror, dark comedy, and feminist subversion sets it apart from conventional Indian cinema. With this film, Kandhari has cemented himself as a director unafraid to take risks. As he moves forward with his next project, A Heart Full of Napalm, audiences can only hope for more of his exhilarating, rule-breaking storytelling.