Sister Midnight

The movie is exactly what its title suggests - Nothing. If the purpose of the movie is to portray the mundane, uneventful life of the protagonist, there are many ways to showcase that than to make the movie itself dreary and mundane. The first exchange of dialogue is after 8 minutes which should put things into perspective.

The newly weds struggle to settle as the wife quickly become disillusioned with the challenges of marital throes. She takes up a janitors job that requires her to work nights, sleeping during the day. She starts growing increasingly sensitive toward sound and unable to keep food down. Thus beginning her transformation which most viewers will miss noticing till they reach the end, those brave souls that do that is. At no point in the movie does the storytelling get any better. The first ten minutes is all that's required to know the pace of the movie which is excruciatingly slow. Even documentaries have more thrill in them than this.

Sister Midnight is one of those rare films that starts off feeling raw and real, and then slowly descends into something completely unexpected. What begins as a story about a woman trapped in a dull, affectionless marriage turns into a surreal, psychological journey filled with dark humor and horror. Radhika Apte is absolutely brilliant-her performance is both haunting and deeply emotional. The film's second half is wild, unsettling, and hard to look away from. It won't be for everyone, but if you're into bold, strange cinema that pushes boundaries and makes you think, this one is worth watching. It stays with you.

First of all, what compelled me to write my first-ever review is that a film so unique and whimsical isn't rated at least 9/10. It's surprising to see so few votes, especially when movies of this flavour and depth are seldom made in India.

The story follows a married couple returning home to begin their new life together. As the narrative unfolds, what starts as a simple tale of a struggling couple slowly transforms into chaotic energy, keeping you on the edge of your seat. Uma's whimsical behavior and her reluctant surrender to her natural desires are both unsettling and mesmerizing. The film's dark humor and distinctive tone infuse every moment with depth, delivering immersive thrills.

Radhika's commitment to the character and performance is top notch. She brings the story to life with a world-class portrayal that lingers long after the credits roll.

The director's vision is clear-every scene feels crafted, emotionally filled, revised, and perfected before execution.

This film is intended for mature audiences (18+) due to its mature narrative and a brief intimate scene. If the photography and technical aspects were up to today's advancements, I would not hesitate to give it a solid 10 as a devoted fan of this movie.

Enjoy the movie but skip the popcorn this time !

This movie is pure chaos, and I loved every second of it. It tells the story of Uma, a young bride trapped in an awkward arranged marriage in Mumbai. As loneliness and frustration build, Uma's descent into animalistic urges becomes both horrifying and strangely liberating. Visually, it's stunning-vibrant, chaotic, and beautifully unsettling. There's a surreal, punk-rock energy that reminded me of Wes Anderson on a horror binge. It's messy in a way that feels deliberate, and I admired the boldness of its style. Not every moment works, but the ones that do are unforgettable. This is one of those films that makes you feel like you've stepped into a dream-or maybe a nightmare.

It's wonderful to see that, for a few years now, genre cinema that isn't made in the USA has managed to revitalize it, sometimes doing nothing more than reappropriating the codes to serve a bigger idea. It occurs to me to quote Antonio Gramsci when he said "The old world is dying and the new world struggles to be born: Now is the time of monsters". Although in all eras there has been room for monstrosities that represented real problems in society, from the Cold War to McCarthyism, today seems to be the culmination of the age of the monster. An era in which metaphors have come full circle and begun to self-ironize. The best contemporary films about monsters are, in fact, about old monsters, those that have never gone away and that, by golly, are still here. Their cinematic existence is endowed with a meta contemplation that finally makes horror cinema a supreme species and language for those of us who perceive the world as it should never have been.