Final Rating: 4.5/5
A jolt of unexpected blues music in the first scene immediately upends viewer expectations of the darkly humorous Sister Midnight. It’s just the first taste of an eclectic soundtrack, partially from composer and Interpol frontman Paul Banks, that smoothly swings between Motörhead, ‘60s Western music, and Cambodian Soul.
In his first feature, writer/director Karan Kandhari displays a distinct voice that’s a blend of Mumbai madness with a punk British edge. In his own words: “This is a story about a misfit who becomes an accidental outlaw. An outlaw and a criminal are not the same thing. Outlaws are outsiders. Outlaws are folk heroes…”
The folk hero of this tale is Uma (Radhika Apte), a woman who’s thus far paid little attention to the domestic duties generally assigned to women, but now finds herself in a sexless marriage with childhood friend Gopal (Ashok Pathak). She’s forced to reinvent herself on the fly, cleaving off the bangles that mark her as a “hillbilly” according to one neighbor (Smita Tambe), learning to cook as she seeks some form of emotional intimacy from another (Chhaya Kadam). Even picking up a night job in a peaceful neighborhood, away from the suffocating noise and heat of her own, by declaring: I am a domestic goddess – and then realizing she only needs to be good enough, and find the moments of peace and pleasure in her routine.
She must learn who she is with her husband. Who she is (even more often) alone. Especially when she starts to…change. Also physically. A situation she’s left to figure out on her own, as the doctor certainly isn’t taking her complaints seriously.
The film’s world premiere was in Cannes’ Directors Fortnight, going on to win Best Film in the Next Wave section at Fantastic Fest and a string of nominations including Outstanding Debut by a British Writer, Director or Producer at the British Academy Film Awards. The attention is not just for Kandhari’s decidedly quirky, while surprisingly heartfelt, story. The film also feeds the audience vivid visuals through production design (Shruti Gupte) and cinematography (Sverre Sørdal).
Viewed through a grainy vintage filter, the camera cuts between still frames of bright images that allow your eyes to eat all the colors of Mumbai, framing the realities of Uma’s new life in a single shot: her lying depressed on her bed while the world walks by in the sunlight past the open door next to her. Later the camera glides through the evening air past doorways spilling out light and life, ending on her closed door, still dark and bare beyond, swallowing Uma in her early-film hopelessness.
As Uma begins to accept herself for the foul-mouthed but fiercely loyal night owl with a thirst for life she is, judgement from the community mounts, but Uma thrives. Navigating through a crescendoing comedy of errors, Uma not only experiences more joy, but helps those closest to her live more fully in the moment, learning what she can from them as well – despite the looming danger that now hangs over the heads of those around her. And then, about halfway through the 110-minute runtime, the plot takes a left-turn into a dark, madcap tone. (Animal lovers: Some scenes may be difficult to watch, but the comically – seemingly intentionally – schlocky CGI leaves you no doubt that no actual animals were harmed.)
Not everyone will follow every turn of the tale on their first watch. This is the kind of film that gives you all the pieces, but leaves you the room to assemble them for yourself – and some may miss some. (Pay attention to a moment involving a mosquito zapper for a clue.) But most will find the ride enjoyable nonetheless.
Settle into the slower pace of the first half and you’ll be treated to a timeless but memorable fable about finding the best in the circumstances life hands to you. Uma’s story is about allowing yourself the small happiness of just being who you are, and recognizing and embracing the closeness that can bring with even the most unexpected allies. (But also knowing when to cut off an acquaintance who brings nothing but negativity.) After all, no relationship is one size fits all.
Come for a movie about the messy business of forging your own path in the face of prejudice and violence – through the eyes of someone who may not be above a little violence of her own. Stay for the spine of dark humor that consistently elicits not big belly laughs, but regular barks and snorts of laughter and a wry smile as you cheer Uma on, even when things get ugly.
Thank you to Magnolia Pictures, Magnet Releasing, and Track Shot for the screener.
