Sister Midnight (2025)

Ebiri finds the film colorful, moving, and deeply odd, praising how its tonal shifts arise naturally from character. He especially singles out Radhika Apte’s expressive performance and the emotional depth she gives Uma.

Khosla praises the film as a confident, original dark comedy with a humorous and human heart. She singles out Radhika Apte’s commanding, largely wordless performance and the expressive cinematography.

Bitel finds the film a droll, strange delight that resists conventional narrative expectations. He praises its playful horror references and its celebration of marginalised oddballs.

Ide finds the film wildly audacious, macabre and immensely entertaining, despite noting that not every creative risk pays off. She particularly praises Radhika Apte’s endlessly expressive physical performance as Uma.

The review presents the film as a feral, feminist fable with a delectable, vampiric edge. It singles out the film’s bite as a key strength.

The accessible text presents the film positively, calling Radhika Apte sensational. It singles out her performance in the dark Mumbai-set comedy.

Abe­le finds the film captivating and mischievously inventive, though its episodic unpredictability prevents its ideas from fully coalescing. He praises Radhika Apte’s commanding, often hilariously hapless performance and the film’s vivid visual curiosity.

Omar finds the debut engaging and daring, but overstuffed and uneven. She praises Kandhari’s bold mid-film shift while criticizing the inconsistent characterization that follows.

The critic finds the film visually inventive and witty, but says its picture-making sometimes overwhelms its ideas. They praise its lush imagery and sharp eye for absurdity, while faulting the superficial use of hijras and an underpowered final stretch.

The critic finds the film initially enrapturing but ultimately overcommitted to its style, with its bold ideas losing force. They praise Chhaya Kadam’s performance and the inventive stop-motion imagery, while criticizing the later genre turns as emotionally and tonally incongruous.

Kermode finds the film vivid, absorbing, and worth seeking out. She particularly praises Radhika Apte’s intense performance and the film’s carefully composed visuals, colour, and sound.

Hassenger calls the film one of the year’s best so far, praising its strange, transfixing blend of dark comedy and identity themes. He singles out Radhika Apte’s near-feral performance and the vibrant cinematography of its urban nightscapes.

The review calls the film a rebellious, spirited debut with plenty of bite, despite thin cohesion and occasional derivativeness. It praises the lively, eclectic soundtrack that accompanies Uma’s increasingly surreal experiences.