SISTER MIDNIGHT

****

Directed by Karan Kandhari.

Starring Radhika Apte, Ashok Pathak, Chhaya Kadam.

Comedy, UK, 107 minutes, Certificate 15.

Released in the UK on March 14th by Altitude Films and Protagonist Pictures

Karan Kandhari’s feature directorial debut gets off on the right track, literally, with a vast train rumbling through the night towards Mumbai with Howlin’ Wolf blaring over the soundtrack. This is how we are introduced to newlywed Uma and her husband Gopal. Far from happy, Uma soon finds that this arranged marriage holds nothing in the way of romance, physical or otherwise, with Gopal rushing out of the shack they call home to work first thing in the morning and coming home last thing at night only to pass out drunk. Uma struggles with her duties in spectacularly angry fashion and struggles to fill out her days as the noises, smells and sights of the city around her begin to affect her both mentally and physically.

To say anymore of the full effects of what Uma goes through could potentially ruin what is one of the biggest and most entertaining surprises of the year so far. Kandhari has fashioned a totally unique film that doesn’t so much hop across genres but steamroll through them, aided in no small part by the performance of Radhika Apte as Uma. In recent months we have been treated to a number of memorable female roles, particularly in the horror genre, and Radhika Apte proves herself to be every bit the equal of her more famous contemporaries in fine style here. At times angry, confused, perplexed and eventually lethal, this is a funny and affecting performance that in a just world would see her win a new legion of fans to add to those who only know her for her Bollywood work.

Underneath the deadpan comedy stylings and horror tinged madness the social commentary on arranged marriage and the expected duties of a housewife are presented in a fashion that never lets the film slide into pure issues driven storytelling. The point is made succinctly and gels nicely with the increasing strangeness of the film, which is also presented expertly. The inclusion of stop motion animation for one particular aspect tips the film further into the realms of the unreal while Sverre Sørdal’s fantastic cinematography captures the hot and dusty atmosphere of the city in expert fashion alongside the eclectic soundtrack that features such choice cuts from the likes of The Band, Buddy Holly and Iggy Pop among others.

At times there is a feeling that is reminiscent of the deadpan stylings of Aki Kaurismäki and even Wes Anderson at certain points while at other times you could also be reminded of Ana Lily Amarpour’s A GIRL WALKS HOME ALONE AT NIGHT.  If all of these influences sound ill matched it is a testament to the skill of Kandhari that he has managed to deliver such a film that is totally in control of its many tones and genres, delivering a film that really does look, feel and sound completely different than anything else at all out there at this moment. This is a strange, exciting, fierce and funny piece of work that more than deserves the cult audience it will no doubt gather once the audience realise what they have on their hands.

Iain MacLeod