Sister Midnight: An Outrageously Fun and Unapologetically Odd Cinematic Journey

Sister Midnight unfolds as a film that’s as quirky, darkly humorous, and unpredictable as its central character. The debut feature from Indian filmmaker Karan Kandhari, based in London, this genre-blending narrative invites viewers on a bizarre nighttime adventure through Mumbai, steered by a protagonist who embodies the chaotic and captivating essence of the city itself.

At the core of this unconventional tale is Uma, a new wife in an arranged marriage, portrayed with fierce dedication by Radhika Apte. Uma is straightforward, spontaneous, and endlessly inquisitive — a woman who resists the societal mold imposed upon her. Kandhari creates a cinematic experience that is both riotously enjoyable and profoundly subversive, seamlessly melding horror, comedy, and social critique with a pulsating soundtrack by Interpol’s Paul Banks, making his film composing debut. The outcome? A gory, laugh-inducing spectacle best savored with an audience.

What Is Sister Midnight About?

Set against the colorful chaos of Mumbai, Sister Midnight introduces us to Uma (Apte), a woman from a small town who relocates to the city for an arranged marriage with the equally awkward Gopal (Ashok Pathak). The pair quickly becomes the target of mocking in their neighborhood, dismissed as “village fools” by their critical acquaintances.

Their relationship is anything but typical. Gopal’s proposal to consummate the marriage with a handshake leaves Uma unimpressed and increasingly disillusioned. As she struggles to adjust to her new domestic existence, Uma’s sharp wit, disregard for tradition, and odd behavior paint her as an outcast in her community — and an unpredictably delightful protagonist.

In search of an escape from her confining home life and Gopal’s apathy, Uma starts to roam the city under the cover of night. She finds camaraderie with a group of trans sex workers, led by the engaging Aditi (Navya Sawant), who provide her with a scarce sense of belonging. However, as Uma’s desire for autonomy intensifies, it takes a dark and tangible turn. Her cravings become primal, her actions more animalistic, and the film begins to delve into surreal horror. Is she cursed? Possessed? Or merely tapping into a power that has long remained dormant within her?

Celebrating the Monstrous-Feminine with Dry Humor

Sister Midnight offers a genre-blending examination of female emancipation through the perspectives of horror and absurdist comedy. Kandhari embraces the idea of the “monstrous-feminine” — a term introduced by theorist Barbara Creed — to question traditional gender expectations and roles. As Uma awakens to her nocturnal impulses, she grows more vibrant, more authentic, and significantly more fearsome.

The film joins the lineage of feminist horror classics like She-Wolf of London, A Girl Walks Home Alone at Night, and Raw, employing horror conventions to probe themes of identity, independence, and longing. However, what distinguishes Sister Midnight is its sharp sense of humor. Kandhari’s deployment of deadpan humor — ranging from a goat corpse joke to a montage of cringe-worthy apologies — keeps the film grounded in its own absurdity, even as it spirals into the surreal.

Visually, the film is a feast for the senses. Napoleon Stratogiannakis’ swift editing and Sverre Sørdal’s often symmetrical cinematography amplify the film’s quirky tone, while instances of stop-motion animation infuse a playful oddness that perfectly mirrors Uma’s plunge into chaos.

Radhika Apte Excels in a Role That Defines Her Career

Radhika Apte delivers a remarkable performance as Uma — a character who is equally unsettling and comical. Her evolution into a bloodthirsty entity is neither glamorous nor alluring; it’s awkward, pragmatic, and deeply relatable. Apte’s interpretation is filled with quiet intensity, sudden flares of action, and a vacant stare that is both eerie and amusing.

Whether she is considering the theft of a potted plant or eyeing a goat as a potential meal, Apte captivates the screen with her magnetic presence. Her performance serves as the emotional core of Sister Midnight, anchoring the film’s wildest moments with genuine authenticity and razor-sharp comedic timing.

A Film for the Eccentric

By the time Sister Midnight reaches its pitchfork-wielding crescendo, it’s evident this is a film that delights in its peculiarity. It’s an homage to the outsiders, the misfits, and anyone who has ever felt constrained by societal conventions. Kandhari’s debut is bold, bloody, and refreshingly innovative — a must-watch for enthusiasts of feminist horror, surreal comedy, and unapologetically bizarre cinema.

Sister Midnight is currently showing in New York and will extend to Los Angeles on May 23, with more cities expected to follow.

UPDATE: May 15, 2025, 6:03