Sister Midnight

Watching the trailer for writer/director Karan Kandhari’s film Sister Midnight did not prepare me for the wild ride I was about to take. It is best to go into this movie knowing as little as possible, so each change in direction allows for surprise. For that reason, I will give away as little as I can.

When Uma (Radhika Apte) travels into the city to marry Gopal (Ashok Pathak) in an arranged marriage, she doesn’t know exactly what to expect. She and Gopal knew each other as children, but it’s clear they no longer have any idea what makes the other one tick.

We’re treated to several comedic moments as these two newlyweds navigate their shared space in one very tiny apartment on a busy street. However, the comedy quickly gives way to Uma’s despair.

As her misery grows, she finds herself unable to eat, but the only thing her female neighbors seem to notice is how pale she appears. Many of them ask her which whitening cream she uses.

This is one example of how deeply embedded into the culture the film lies. While most of the film’s details transcend culture, Kandhari doesn’t beat anyone over the head with extraneous information. Some things will likely go over the heads of anyone unfamiliar with India’s cultural history and background, but the audience can still identify with how Uma feels, which keeps the story relatable.

Though Sister Midnight retains its humor, it’s impossible to deny the sadness that underlies it. As the film progresses, Kandhari peppers in horror elements. A couple of scenes even reminded me of Ari Aster’s Midsommar, though Sister Midnight never delves so deeply into outright terror.

Apte excels as the woman whose husband is incomprehensible to her. Equally enjoyable is Pathak’s turn as the bumbling spouse who is just as perplexed by his new wife.

Sister Midnight is funny, horrifying, and a little sad—a nice blend for an interesting take on surviving an unhappy marriage.