Dilli Dark Movie Review: A clever satire that sometimes trips over its own ambition

Time of India

5 days ago

Story: A dark comedy set in chaotic Delhi, following Michael Okeke (Samuel Abiola Robinson), a Nigerian MBA student. As he navigates judgment, stereotypes, and cultural clashes, Michael's journey is both hilarious and heartbreaking, revealing the absurdities of urban life and identity in a city that never slows down.
Review: Dilli Dark, written and directed by debutant Dibakar Das Roy, is a bold and inventive dark comedy that tackles race, identity, and the chaos of urban India through the eyes of Michael Okeke (Samuel Abiola Robinson), a Nigerian MBA student trying to survive—and belong—in Delhi. The film's intention is as striking as its execution is uneven.
From the outset, the film hits hard, showing Okeke as an outsider in a city that prides itself on cosmopolitanism but fails to mask its everyday racism. Robinson plays Okeke with subdued charm and pathos, drawing the audience into his world—a space of suspicion, stereotypes, and social exclusion. The scene where he's judged for buying fairness powder or accused of cannibalism shows how quickly bias can spiral into absurdity. The satire is razor-sharp in these moments, echoing the film's overarching commentary on Delhi as a city that claims to absorb all, yet pushes those who look different to its fringes.
Roy smartly turns Delhi into a character—fickle, judgmental, vibrant, and complicit in reinforcing its own hierarchies. The city breathes through the cinematography, which captures both the darkness and energy of its streets, and through the sharp dialogue filled with local flavor and biting wit. The soundtrack, particularly the clever use of the rap number 'Hum Kaale Hain, Dilli Wale Hain,' adds rhythm to the social commentary, underlining the contradictions that define Delhi's relationship with race and identity.
However, despite its compelling setup, Dilli Dark falters in pacing and tonal balance. The second act sags under the weight of its ideas, especially with the subplot involving the flamboyant godwoman Mansi 'Maa' (played brilliantly by Geetika Vidya Ohlyan). Though her character adds layers of satire on spiritual con artists, the narrative becomes stretched and somewhat muddled. The transition from satire to philosophy feels abrupt, and the film occasionally indulges in its cleverness, diluting the poignancy it so earnestly builds.
The performances are a definite strength. Shantanu Anam, as the sardonic Debu, adds comic relief with impeccable timing. Ohlyan brings an electrifying presence to Maa, embodying the eccentricities of Delhi's spiritual showbiz culture. Saumya Jakhmola and Stutee Ghosh also shine in smaller roles. At the heart of it all, Robinson is a compelling lead—earnest, wounded, and quietly observant—though at times constrained by a screenplay that gives him more symbolism than interiority.
The film draws a bold parallel with the historical tale of Razia Sultan and Jamal-ud-din Yaqut to comment on love, race, and societal hypocrisy. It's a smart thematic choice, though not always seamlessly integrated. The finale, while emotionally satisfying, leans a bit too heavily on exposition and symbolic closure.
Ultimately, Dilli Dark is a decent debut that tries to say a lot—and occasionally says too much. It is an insightful, sometimes hilarious, sometimes meandering exploration of race, identity, and survival in modern Delhi. Despite its imperfections, it is worth watching for its unique voice and daring themes.
A darkly comic, socially aware satire that shines in parts but stumbles under the weight of its own ambition.