 |
| Images Courtesy of Magnolia Pictures |
There have
been many films that explore the conundrums of the life of a housewife.
Over the decades these explorations into domestic distress have evolved into
various genres that highlight different aspects of the plight of lonely and
exploited women who are trapped within marital prisons. Karan
Kandhari's debut feature film, Sister Midnight fuses pitch black
comedic elements with supernatural sensitivities, producing one of the most
memorable and fun cinematic experiences of the year. Featuring what
will hopefully be recognized as one of the greatest performances of the year, a
variety of perfectly timed needle drops, and some of the most creative
filmmaking ever displayed in an initial offering, this is essential
viewing.
Uma enters into an arranged marriage, and the torturous result slowly
transforms her into something else. As the nights go on and the heat
rises in the ghettos of Mumbai, Uma challenges her place in society in a
violent rebellion. Kandhari also wrote the script, which plays like a Wes
Anderson horror film. One of the most precious aspects of this special
film is that it has a rhythm, an almost subversive wavelength that hypnotizes
the viewer with repetition, aural delights, and stop motion wizardry to create
a bizarre pressure cooker of societal expectations and female
empowerment.
While this should not work, it does, and it does so almost entirely due to Radhika Apte's fearless lead performance as Uma. Her comedic timing, deadpan delivery, and absolutely hilarious physicality add a slapstick layer to the already eclectic proceedings that instantly feels right at home within Kandhari's mad mad world. Sverre Sordal's blistering cinematography captures the grime of Uma's purgatorial neighborhood with poise while filming the interior of the couple's cramped hovel with a claustrophobic approach that is symbolic of Uma's frustrations.
The final piece of the puzzle is Paul Banks terrific score and the use of various pop songs to accentuate the bloody, whimsical world in which Uma finds herself. Such a tactic often feels cheap, but here, the perfectly curated list slips seamlessly into Kandhari’s audacious flow, building upon the vibrant undercurrents already in place and the final result is jaw dropping.
Coming soon to theaters and digital rental, Sister Midnight is an absolute triumph of acting and creative filmmaking. Blending horror and feminism with Kaurismaki and Anderson’s style of presentation sounds like an almost impossible undertaking, but under Kandhari's brilliant command and Apte's unforgettable performance, it not only works, it rises from the filthy, baking streets and stalks into the night, unafraid.
--Kyle
Jonathan