Offbeat Black Comedy emphasizes the modern Indian woman

Recent times were a blessing for films from or about Indian women. About the Grand Prix winner of Cannes Everything we imagine as light2024 also saw the premiere or publication of Suchi Talati's Girls will be girlsSandhya Suris Santoshand Kiran Raos Controversy Best International Feature selection Laapataa women. Karan Kandhari's comes into this mixture Sister midnightAn unusual black comedy, partly about the difficulty of being a modern Indian.

The woman in question is Uma (Radhika APTE), a freshly married person who can be seen for the first time on the train when she sets off to her husband Gopal (Ashok Pathak). From the beginning, Kandhari is completely ready to let ourselves sit in the silence of our main characters – until the day begins and both Uma and the viewer are thrown into the chaos of Mumbai. As a heroine, Uma is rather, we will say “difficult”. She is particularly prone to throwing the Hindi phrase around for “motherfucker”, and has problems even finding out how to do dinner in the evening. Her husband is not much help either: he hardly seems to know what sex is and gives her a handshake on her wedding night. She is mostly wandering alone through the city and occasionally with her neighbor Sheetal (Chhaya Kadam, from her neighbor Sheetal Everything we imagine as light And Laapta women).

Sister midnight Developed with a particularly dead style in both humor and performance. Kandhari prefers simple gags, such as the handbeat mentioned above or a bit, where Uma flees from the beach after they were stuck between two sobbing people on both sides. Apte largely rolls with the blows; If it is not cursed, she observes or makes sarcastic observations between a somewhat rude behavior. (An overhidden piece of dialogue about another wedding mentions that her marriage was more of an act of convenience, although she was a psycho and he is mostly resolved.) In combination with Kandharis studied compositions – especially in the dark – it ensures a fairly amusing time, a novelty of Indian cinema, even if you may be very interested in where exactly this is exactly.

There is regular indications that something unusual happens with UMA: your lack of hunger; Your complexion grows pale and pale. It is difficult to discuss where sister is interpreted by the exact nature of the plot, but it is enough to say (even a comparison could press) because you are waiting for certain posters and protocol lines in view of certain posters and protocols, wait for the other shoe to fall. If this is the case, Kandhari drives into its same deficiency and breaks out dark funny jokes, while Uma is increasingly freeing itself from social expectations. The inevitable revelation brings things into the right perspective without ever having the necessary effects. You expect it to be crazy or more, and to be fair, there is a very strange little development. But it's not enough to feel a little disappointed, even if things get a little worse for Uma.

In the heart, Sister midnight Is a story about the rigidity that Indian women suffered – how it can be so easy to brand someone “crazy” if it even deviates slightly from the norm. Khandari mostly catches the inherent monotony of being a housewife, even if they connect with their neighbors by pretending to be divorced. Whatever his relaxed nature, Sister midnight remains entertaining and visually differentiated, with the help of Paul Banks from Interpol on the score. It doesn't like fully comprehensive, but also – – that's just life.

Sister midnight a limited publication is collected on Friday, May 16.