‘Sister Midnight’ Review: Surreal Indian Comedy Swerves Into Genre Excess
27.05.2024 - 17:51
/ variety.com
Siddhant Adlakha Karan Kandhari‘s “Sister Midnight” is a surreal Mumbai fable with an aggressive comedic rhythm. It’s composed by hitting the same few notes ad nauseam, but hitting them exceptionally well and for much longer than one might expect before it eventually runs out of steam. All the while, Kandhari takes a novel visual approach to the topic of arranged marriage, situating his woebegone couple — his protagonist in particular, a woman who feels trapped — in a realm of strange psychosis.
It’s better than it has any right to be, but not nearly as good as it should be. Uma (Radhika Apte) is brash, acerbic and vulgar. Unable to cook or manage household expenses, she fulfills very few of the rigid expectations of a new Indian bride.
When she arrives at her cramped new one-room apartment with her soft-spoken husband Gopal (Ashok Pathak) — an ostensible stranger — on their wedding night, the awkwardness between them is palpable. She wants to (or perhaps, believes it’s her duty to) sleep with him, but he can barely take his shirt off in front of her. It doesn’t take long for Kandhari to establish his snappy comedic vibe, with all the calculated framing, editing and choreography of a Wes Anderson action scene (the wake in “The Grand Budapest Hotel” comes to mind, with its litany of well-timed punches).
However, first-time feature director Kandhari also marches to the beat of his own drum, constrained by neither tone nor genre expectation. His music choices range from Bengali folk to American punk and blues. While of Indian origin, Kandhari is London-based and draws from a variety of cultural influences, but his depiction of working class Mumbai never feels inauthentic, especially in the movie’s quieter, low-lit moments,
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