Dilli Dark: A bitingly funny, unapologetically messy portrait of outsider life in Delhi
Set against the chaos and contradictions of modern-day New Delhi, Dilli Dark is a loud, unfiltered, and sometimes uneven satire that isn't afraid to swing wildly between sharp social critique and absurdist comedy. It's the kind of film that might make you wince one moment and laugh the next—often at the same thing.
At the heart of it all is Michael, a Nigerian student trying to find his footing in a city that both seduces and rejects him. By day, he presents the picture of academic ambition, earnestly recording hopeful video diaries about building a new life. By night, he sells cocaine to Delhi's upper crust—people who happily snort his goods while treating him as a curiosity, a joke, or worse. Samuel Abiola Robinson plays him with a careful balance of vulnerability and wry detachment, capturing the fatigue of constantly performing different versions of himself just to survive.
Much of the film's strength lies in how it portrays the double consciousness of being a Black man in a city that sees you as both invisible and hyper-visible. Michael is a character constantly walking a tightrope—exoticised, fetishised, feared, but rarely understood. His attempts to find peace lead him to an ashram, where he meets a spiritual guru (played with sly brilliance by Geetika Vidya Ohlyan) who promises enlightenment but seems more interested in his supply than his soul.
Ohlyan is easily the standout here. With razor-sharp timing and a wardrobe that oscillates between goddess and grifter, she skewers the self-help industry with deadpan charm. One scene, involving a televised spiritual brawl and a frantic hunt for cocaine, is so deliriously over-the-top it somehow circles back to being insightful.
Visually, the film veers between grim realism and comic surrealism. At times, it resembles a fever dream—smoggy streets, blaring neon signs, and the ever-present hum of Delhi traffic forming a claustrophobic backdrop to Michael's existential drift. There's little subtlety here, but that's precisely the point. Dilli Dark prefers its metaphors painted with a broad brush: white powder, black bodies, murky morals. It's not delicate, but it is deliberate.
The film also flirts with myth, drawing parallels between Michael's story and that of Razia Sultan, a historic queen rumoured to have loved a Black man—only to see him killed by a prejudiced crowd. This recurring motif adds a layer of tragic romance, reinforcing the idea that history has always had room for desire but not for equality.
Dilli Dark isn't perfect—it stumbles in places. But it's bold, abrasive, and oddly moving in its own chaotic way. If nothing else, it's a vital, defiant shout from the margins—one that deserves to be heard.
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Hindustan Times
2 hours ago
- Hindustan Times
Afro Mexican actors fighting racism celebrate their heritage through their plays
TICUMÁN, México — There was something about her body, but Mexican actress Eréndira Castorela couldn't quite put her finger on it. Some casting directors told her she was 'too tall' to play a Mexican woman. Others insinuated her features weren't sufficiently 'Indigenous.' 'It wasn't until later that I discovered what it means to recognize oneself as Afro,' said Castorela, who subsequently confirmed her African ancestry. 'We are a diverse community which, perhaps due to discrimination, doesn't identify as such.' Her life changed after she joined Mulato Teatro, a theater company that empowers actors of African descent who are eager to forge a career despite racism. However, like most Afro Mexican activists, Castorela believes that nationwide recognition is still a long way off. 'If we look around, we'll see curly hair, high cheekbones, full lips or dark skin,' the 33-year-old said. 'But there's a wound that prevents us from recognizing ourselves.' Unlike the United States, where there have been concerted efforts to boost awareness of the Black history, acknowledging Black people in Mexico has received little support. 'The concept of mixed race denies the cultural diversity that defines us as Mexicans," said María Elisa Velázquez, a researcher at the National School of Anthropology and History. "We are not only Indigenous, but also European, African and Asian.' It is well known that the Mesoamerican lands conquered by the Spaniards in the 16th century were inhabited by Indigenous people, resulting in mixed-race marriages and births. Less noted is the fact that some mixed-race Mexicans are partly descended from enslaved Black people. According to Velázquez, the evolution of communities incorporating Black people depended on their geographic location. 'Much of the Afro-descendant population established relations and coexisted alongside different Indigenous groups, resulting in very heterogeneous communities,' she said. Official figures from 2024 estimate the Afro-descendant population in Mexico is 3.1 million, mainly residing in the states of Guerrero, Morelos, Colima and Quintana Roo. While most identify as African Mexican, nearly two-thirds also perceive themselves as Indigenous. Castorela — born in Morelos, a state neighboring Mexico City — recalls looking through family photo albums after first wondering if she had African ancestry. The features of her relatives left no room for doubt. 'I also realized we had created a narrative that concealed our origins,' she said. 'There was always someone saying: 'But there was a blond person in the family,' or 'Grandma had finer features.'' Castorela may not have curly hair and her skin tone may not resemble that of other Afro women, but she said her body never lied. When she was a young actress taking ballet classes, she felt constrained and uncomfortable. It wasn't until she joined African dance classes that the choreography was ideal for her height, weight and soul. 'I feel much freer because there's openness and movement,' she said. 'Identifying as African Mexican has given me the mental and spiritual peace I needed to realize there is a place where I can reflect myself.' The theater company where Castorela and two dozen other artists collaborate was founded in the early 2000s by another Afro woman who struggled to excel as a Black actress in Mexico. Born in Colombia, a South American country where around 10% of the population is Black, Marisol Castillo said she had no clue her physical features would hinder her career. But after falling in love with Mexican playwright Jaime Chabaud and moving to his hometown, everything changed. 'Some want to force us to fit a mold, a white mold,' Castillo said. 'And when we differ, we're told: 'You're a bad actor, you're out of tune.' But we're just different.' Casting directors mostly offered Castillo roles as prostitute, exotic dancer, maid or slave. So she teamed up with Chabaud, and 'Mulato Teatro' was born. 'There was very little openness and awareness,' Chabaud said. 'So I started writing plays for her.' The themes of Chabaud's plays are as diverse as the actors who bring his characters to life. 'African Erotic Tales of the Black Decameron' draws inspiration from oral traditions, fusing the worldview of African communities. 'Yanga" portrays a real-life 17th-century Black hero who is considered a liberator in the Mexican state of Veracruz. Among the topics inspiring Chabaud are not only African legends or characters, but stories closer to home. 'Where are you going, Mr. Opossum?' tells the tale of a 'Tlacuache,' an ancient creature from Mesoamerican mythology. In Chabaud's play, the Tlacuache steals fire from a goddess to save humanity from hunger and darkness. The creature has no divine powers, but his ability to play dead enables him to sneak past the Jaguar, a deity safeguarding the flames. 'Jaime always tells us that we should all worship Mr. Tlacuache instead of other deities,' said Aldo Martin, playing the leading role. Martin, 28, does not identify as Afro, but feels the company's work successfully portrays Mexico's diversity. 'Our ancestors are not only Indigenous, but a fusion, and these mixed heritages have resulted in a very distinct society, made of all colors, which shouldn't pigeonhole us into just being Afro,' Martin said. Castillo and Chabaud primarily encourage Afro-Mexican artists to work in their plays, but they also welcome amateur actors and LGBTQ performers. One of them is transgender actress Annya Atanasio Cadena, who began her career in plays addressing topics such as suicide, alcoholism and drug addiction in marginalized communities. 'In my community, we know what it's like to fight against the world,' said Atanasio, who plays a trans woman in one of Chabaud's plays about gender violence. 'I'm very moved to have been given the chance to become part of this space, which also heals me,' she added. "We can show that we exist and we are more than just a story. We are bodies, desires, feelings, and the pain we carry.' There's a special play written and directed by Castillo: 'Dreaming of Africa.' Although she has not been able to trace the exact roots of her ancestry, her work and community make her feel closer to a long-lost home. 'When we, people from the same ethnicity meet, we call each other 'brother,'' Castillo said. 'After all, we came from the same ports.' She said she'll never forget a presentation of 'Dreaming of Africa,' when a girl from the audience approached her. 'She could barely speak, so we hugged,' Castillo said. 'Then she said: 'Thank you for telling me I'm pretty, for making me feel my worth'.' Castillo, too, learns something about herself as she acts, writes and directs. It's like peeling an onion, she said, taking layer by layer to reveal what's underneath. 'I grow with each play,' Castillo said. "I feel prouder of my roots, knowing that I can move away from stereotypes like playing a prostitute or a witch. That I, too, can be a queen.' ____ Associated Press religion coverage receives support through the 's collaboration with The Conversation US, with funding from Lilly Endowment Inc. The is solely responsible for this content.
News18
9 hours ago
- News18
Dilli Dark Makers Asked By CBFC To Add Unique Disclaimer
Last Updated: CBFC asked Dilli Dark makers to add a message clarifying it doesn't depict real Delhi and isn't meant to offend. Directed by Dibya Das Roy, it addresses racism and social issues. If you're going to watch Dilli Dark in the theatre, you might notice something different at the start. The Central Board of Film Certification (CBFC) has asked the makers to add a special message before the movie begins. Dilli Dark, directed by Dibya Das Roy, is a funny but serious movie about racism and social issues in Delhi. The CBFC wanted the filmmakers to add a note saying the movie doesn't show the real Delhi and isn't meant to hurt or offend the people living there. People involved with the movie said the board was worried that some might think the film is attacking Delhi or its citizens. So, this message helps explain that the movie is just a story and not about hurting anyone. An insider told Mid-Day, 'While understanding the satirical tone, the board felt that the narrative might be interpreted by some as a generalisation of Delhi and its residents. The disclaimer was suggested to prevent a backlash." The disclaimer says that the movie is a made-up story. It doesn't show the real life or spirit of Delhi, and it's not meant to hurt or offend the people who live there. Dilli Dark, praised at various film festivals, tells the story of a Nigerian MBA student living in Delhi who faces both obvious and hidden racism. A senior member of the film team, who wished to stay anonymous, said, 'If adding this disclaimer stops people from misunderstanding the film, we're fine with it. But since the movie is already rated A, we don't really think the disclaimer is necessary." Some strong language in the film has also been muted. Dilli Dark is a 2023 Indian drama film made in both English and Hindi. It is directed by Dibakar Das Roy and stars Samuel Abiola Robinson, Geetika Vidya Ohylan, and Shanatu Aham. The film was shown at various film festivals. The plot revolves around Michael Okeke, a charming young man from Nigeria, left his home six years ago to make a life in the busy and often chaotic city of New Delhi. Though he has mixed feelings about the city, he hopes to find true love and a better job. However, life in Delhi pulls him into a tough world revolving around the '4 Cs": cell phone, cocaine, cash, and clients. First Published:
Time of India
19 hours ago
- Time of India
6 things Rockstar did right in GTA 5 that must return
When GTA V dropped in 2013, it didn't just raise the bar, it became the bar. From dynamic gameplay to unforgettable characters, Rockstar delivered a near-perfect open-world experience. Now, as we count down to GTA VI , one thing's clear: some things from GTA V absolutely need to return. Tired of too many ads? go ad free now Here's a quick hit-list of what Rockstar nailed, and why we need more of it. 1. Character Switching Michael, Franklin, and Trevor - three wildly different personalities, three storylines, and one seamless mechanic to switch between them. This wasn't just a gimmick. It made the story richer, gave missions variety, and let players explore the world from different angles. Rockstar, please don't leave this behind. How GTA 6 Graphics are SO REALISTIC! 2. A Living, Breathing Open World Los Santos felt alive . Pedestrians had conversations, animals roamed the wild, and random events could trigger anywhere. It wasn't more than just background, it was part of the game. Whether you were chasing a purse thief or stumbling into a cult, the world responded to you. This kind of immersive sandbox is what makes Rockstar games iconic, and it's non-negotiable for GTA VI. 3. Heists That Made You Think Heists weren't just about shooting your way through. You had to plan, choose your crew, pick your approach, and deal with the consequences. These multi-layered missions gave players creative freedom and replayability. Honestly, GTA V's heists felt like mini-games inside the main game. That's gold. Rockstar, bring them back, and make them bigger. 4. Killer Radio Stations & Soundtrack Music in GTA has always been a vibe, but GTA V perfected it. From flying down the highway with Kendrick blasting to tuning in for hilarious talk shows, the soundtrack shaped the entire feel of the game. Rockstar knows how to mix iconic hits with hidden gems, and we need another banger playlist in GTA VI. Tired of too many ads? go ad free now Period. All 13 Side Activities In GTA 6! Who's Excited? #fyp #gta6 #grandtheftauto #videogame #news 5. Next-Level Side Activities Tennis. Yoga. Golf. Stock market trading. Bounty hunting. GTA V blurred the lines between side quests and full-blown games. These weren't throwaway extras, they were legit fun. It made the game feel endless, like there was always something to do. GTA VI shouldn't just bring this back, it should level it up. 6. Online Mode That Grew With Players Say what you want about GTA Online, but it's a juggernaut. Heists, roleplaying servers, weekly events, business empires. Rockstar built an entire second life into the game. If GTA VI's online mode learns from this and launches stronger from day one, it could be even more massive. GTA V wasn't just successful because it was big. It was smartly big, packed with details, features, and freedom that made players lose hours without even realizing it. If Rockstar carries forward these six wins into GTA VI, we're not just looking at a good sequel. We're looking at a generational leap.
