Metacritic reviews

A delightfully zonked marital satire that lurches in various demented directions.

The film is both masterfully unadorned and wholly original, steering forward confidently under Kandari’s guidance. It’s a movie best viewed with absolutely no primer, a delicious little adventure with a humorous — and human — heart.

By the final act, Sister Midnight breaks free from the shackles of submissive feminine stereotypes and raucously leans into a woman behaving very, very badly.

Playing like a Jarmusch – or Amirpour – joint, Sister Midnight is a droll, strange, cool freak of a film, never quite finishing its own sentences or following through on narrative expectation.

It’s a great comic turn from Apte who deserves to be better known.

So joyous and inventive is each scene that it proves easy to disregard the ambling lack of plot.

The film’s main asset is Apte, a gifted physical comedian who puts the dead into deadpan, and loads every gesture with an aggressive, almost demented slap-stick infused humour.

Whatever its easygoing nature, Sister Midnight remains entertaining and visually distinguished, with aid from Interpol’s Paul Banks on the score. It may not fully congeal, but neither does Uma––that’s just life.

The story soon gets away from Kandhari, leading to a film that enraptures and delights in its first hour but gets so locked in to a singular approach by its second that it’s practically consumed by its own style, rendering it unable to keep pace with the bold ideas at play.

An over-eager, idea-stuffed debut that keeps you engaged with its surprising twists, but which nevertheless could have used a little pruning.