{"id":239344,"date":"2025-03-13T18:30:55","date_gmt":"2025-03-13T18:30:55","guid":{"rendered":"https:\/\/globetimeline.com\/ar\/culture\/rewrite-this-title-in-arabic-sister-midnight-film-review-singular-and-stylised-story-of-indian-self-liberation\/"},"modified":"2025-03-13T18:30:56","modified_gmt":"2025-03-13T18:30:56","slug":"rewrite-this-title-in-arabic-sister-midnight-film-review-singular-and-stylised-story-of-indian-self-liberation","status":"publish","type":"post","link":"https:\/\/globetimeline.com\/ar\/culture\/rewrite-this-title-in-arabic-sister-midnight-film-review-singular-and-stylised-story-of-indian-self-liberation\/","title":{"rendered":"rewrite this title in Arabic Sister Midnight film review \u2014 singular and stylised story of Indian self-liberation"},"content":{"rendered":"<p>Summarize this content to 2000 words in 6 paragraphs in Arabic Stay informed with free updatesSimply sign up to the Film myFT Digest &#8212; delivered directly to your inbox.It\u2019s fair to say that\u00a0Sister Midnight\u00a0is not like any Indian film you have seen: for one thing, its soundtrack includes Buddy Holly, Howlin\u2019 Wolf and Mot\u00f6rhead. In stylistic terms, Wes Anderson comes to mind: UK-based debut director Karan Kandhari has the same penchant for sight gags and symmetry. But in contrast with Anderson\u2019s glibly touristic\u00a0The Darjeeling Limited, this Mumbai-set black comedy depicts India as seen by an Indian director with a rock\u2019n\u2019roll imagination and an anarchic sense of the outr\u00e9.The story begins as glum marital farce. Radhika Apte plays Uma, newly arrived in Mumbai after her arranged marriage to Gopal (Ashok Pathak), a print worker who proves an ineffectual dud. His tendency to collapse drunk after evenings with workmates leaves Uma isolated, restless and bitterly frustrated. She starts to explore the city \u2014 then, after a perplexing incident with a mosquito, starts to wander alone at night. That\u2019s when the film shifts into a very different register. And then the goats appear . . .This UK\/India\/Sweden co-production is a briskly lawless movie, one that \u2014 despite coherently following the story of Uma\u2019s self-liberation \u2014 seems to invent itself as it goes along. The rhythm is singular, the characters often moving super-jerkily, like puppets or figures in a hand-cranked silent comedy. Apte\u2019s magnetically hyper-charged performance trades heavily on stylised gestures and mad-eyed double takes: the way she walks, runs, sits down, even raises her eyebrows, all feels very choreographed. Music stops and starts abruptly; the whole film seems to have a chronic case of jitters.\u00a0But for all its abrasive agitation,\u00a0Sister Midnight\u00a0is also oddly poignant \u2014 and quite beautiful, Sverre S\u00f8rdal\u2019s widescreen photography vividly supercharging the city\u2019s night neons and the coloured fabrics of daytime.With Hindi dialogue and piquant English subtitles (\u201cLet\u2019s never hang with those dickheads again\u201d),\u00a0Sister Midnight\u00a0has the sort of slapshot wilfulness that could well make every viewer grind their teeth at least once. But there\u2019s also irresistible euphoria and invention here. This is a film surely destined to take its place in the annals of counterculture sleeper hits \u2014 they used to call them \u201cmidnight movies\u201d after all.\u00a0\u2605\u2605\u2605\u2605\u2606In UK cinemas from March 14<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Summarize this content to 2000 words in 6 paragraphs in Arabic Stay informed with free updatesSimply sign up to the Film myFT Digest &#8212; delivered directly to your inbox.It\u2019s fair to say that\u00a0Sister Midnight\u00a0is not like any Indian film you have seen: for one thing, its soundtrack includes Buddy Holly, Howlin\u2019 Wolf and Mot\u00f6rhead. In<\/p>\n","protected":false},"author":1,"featured_media":239345,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[65],"tags":[],"class_list":{"0":"post-239344","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-culture"},"_links":{"self":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/239344","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/comments?post=239344"}],"version-history":[{"count":1,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/239344\/revisions"}],"predecessor-version":[{"id":239346,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/239344\/revisions\/239346"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media\/239345"}],"wp:attachment":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media?parent=239344"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/categories?post=239344"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/tags?post=239344"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}