Critic 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.

Kandhari’s film emerges as an off-kilter treatise on identity, and what cultural, social, and physiological elements can shape it, even well into adulthood.

Karan Kandhari’s colorful and deeply odd Sister Midnight, about the frustrations of a young woman in a working-class corner of Mumbai, is one of those movies that starts over here and ends waaay over there. But the film comes by its tonal shifts and narrative changes honestly — its twists are organic and rooted in character — which is quite an accomplishment for a feature directing debut

Kandhari delivers a story one might never expect, lingering with you long after it ends, which is long-winded. He captures many details from set to screen with honest conviction, making them memorable within a very unusual but novel story.

Like a movie DJ, Kandhari is flexing a pulpy mood of big-city dislocation, building a trippy, jarring and blackly funny experience out of a city’s stray colors, sounds and personalities.