Radhika Apte embraces failure in acting career: 'I'm not afraid of people telling me my film was crap, or my performance was sh*t'
, who was last seen in her role in 'Sister Midnight', recently offered insights into her principles and thought process behind her creative choices. The actress emphasized the importance of discipline in her career and her refusal to engage in anything that "doesn't make sense" to her, revealing her fearless approach to potential criticism.
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Apte's unwavering commitment and principles
In an interview with A Rabbit's Foot, Radhika Apte elaborated on the guiding principles that shape her creative decisions throughout her acting career. She explained, "I've never done what doesn't make sense to me. I've always been the difficult one. The one who rebels against everything. In the culture it becomes something like, 'do you have to be difficult?' ...Well, yes, because it doesn't make sense.
'Can (I) not some stuff just be, the way they've always been?' No, it can't.
It's exhausting to keep fighting for that', highlighting her commitment to authenticity and challenging norms within the industry.
Fearless of criticism: "We need to normalise It"
Adopting a positive outlook, Apte further expressed her lack of fear towards professional setbacks or harsh judgments. "I'm not afraid of failing at all. I'm not afraid of people telling me my film was crap, or my performance was sh*t.
It's fine. It's part of the whole journey. As an actor, you fail all the time. We need to normalise it. We fail more than we succeed," she candidly stated. Her perspective puts forth her healthy resilience towards the unpredictable nature of an acting career.
About the film 'Sister Midnight'
'Sister Midnight' is written and directed by debutant Karan Kandhari and stars Radhika Apte as Uma, who navigates the challenges of adjusting to married life in a small town in Mumbai. The movie also features Ashok Pathak, Chhaya Kadam, Smita Tambe, and Navya Sawant. 'Sister Midnight' garnered significant attention, being nominated for the Outstanding British Debut at this year's BAFTA Awards. It was also a highly discussed film at the 77th Cannes Film Festival, where it received a nomination for the prestigious Golden Camera award and was featured in the Directors' Fortnight section.
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The Wire
04-06-2025
- The Wire
‘Sister Midnight' Is a Feel-Bad Fable That Liberates Radhika Apte From Bollywood
A still from Sister Midnight. Screengrab from video. Real journalism holds power accountable Since 2015, The Wire has done just that. But we can continue only with your support. Contribute Now Even though it is widely known, I don't think enough gets written about how much of a nightmare it is to watch a film in its 'purest' form in India. One can overlook the overzealous censors that infantilise the audience with humongous smoking warnings, even for films rated 'A', desecrating the work of any self-respecting filmmaker. Along with that, most ambitious films play in sparsely-populated theatres. The screening for Karan Kandhari's Sister Midnight that I attended in Bengaluru had about a dozen audience members. I have a feeling I would've enjoyed the film more if I'd seen it in a packed theatre because it has many visual gags, and most of them are spot on. Also, muted cuss words can feel like sensory speed bumps even if one can decipher them by reading the lip movement. I wondered how the British-Indian director reacted to the alterations? But hey, at least the film released, unlike Sandhya Suri's Santosh (2024). A still from Sister Midnight. Screengrab from video. Kandhari's film, also produced in the UK, has the irreverence and an energy that no Bollywood film could muster in 2025 (or a film like this couldn't get funding in India right now). Intent on feel-good fables on newly married couples, where the demure bride discovers her agency in the finale (like say, Laapataa Ladies or Mrs), Kandhari's film could be labelled a feel-bad fable. Offering Radhika Apte the license to be at her most unhinged, especially after being repeatedly let-down by most films and directors, in one clean stroke, Kandhari liberates her from Bollywood. This might be the rare film where the 39-year-old actor's bravery is reciprocated. Uma (Apte) and Gopal (Ashok Pathak) are a newly-married couple navigating the initial awkwardness of an arranged marriage. The first time we see them, she's concerned about living in a city like Mumbai, while he's asleep. They're dumped in a one-room chawl in one of those back alleys in Bandra/Khar – ones that bustle with hawkers, autorickshaws in the mornings, and become dead silent at night. Gopal isn't the most expressive – on his first day after their marriage, he leaves for work without saying a word. To make matters worse, he comes back home drunk at night, not bothered about how Uma spent the day in this fully alien environment. A still from Sister Midnight. Screengrab from video. But it's not just him who is socially not equipped to play the part of 'husband'. If anything, Uma looks even more troubled by this life sentence of domesticity. She can't fathom her responsibility as a wife. Torn between understanding her 'duty' of providing the carnal pleasures of marriage, and fully aware of how completely ill-prepared she is to play the role of a homemaker, Uma suffocates, and then takes defiant strides to find her happiness. The first hour of Kandhari's film is a sensational study of arranged marriages and their deeply patriarchal nature, as much as about a life in an unforgiving metropolis like Mumbai. Gopal and Uma's chawl never feels like a set; one can almost smell the damp air, feel the heat trapped from the asbestos roofing and taste the humidity. What I found strained to believe in the film is how it shows Uma walking up and down from Khar to Fort everyday, for a job she takes up in a shipping company as a late-night janitor. Chhaya Kadam – India's resident character actor to showcase a middle-aged woman doling out advice to wet-around-their-ears women – plays Sheetal, the neighbour on the other side of a thin ply that separates her home from Uma and Gopal's. Kadam's wry, matter-of-fact delivery deepens the enigma of Uma's sense of displacement in Mumbai. Smita Tambe, playing Uma's nosy neighbour Reshma, is a delight. She's at the receiving end of Uma's best, most crude line, which is unfortunately muted in the version playing in Indian theatres. A still from Sister Midnight. Screengrab from video. I also liked the dynamic Apte and Pathak share on-screen. Uma's profane mouth and utter disregard for household work is balanced by Gopal's quiet fragility. His ignorance is not entirely intentional, some of it is also social awkwardness. He never asks her where she's coming from, holding a bucket and a mop, even though she can't clean their house. He eats out of polythene bags of rice and dal, too polite to confront Uma about why she hasn't cooked him a meal. Even though Uma is the author-backed role in the film, Pathak makes Gopal this luminous being, aware of his less-than-impressive face, so he tries to compensate with his soft, passive presence – never going on to become an obstacle in the path of his abrasive wife. As Uma, Apte delivers a physical performance for the ages. Saying the darndest of things, while shedding every last inch of vanity (from scratching her bum to projectile vomiting multiple times) – she never tries to lessen the blow of Uma as an anti-heroine. The best compliment I can think of paying Apte and Kandhari is how they never try to mine sympathy for Uma, and yet they also never let her become sub-human (even when the film dives deep into the pit of genre). It's in the second hour, and the longer Kandhari commits to the absurdity of his chosen genre, that the film begins to seem clueless about where it's headed. The whimsicality of the first hour – especially Paul Banks' score that features classical rock, grunge, blues, wonderfully at odds with bustling Mumbai compositions and its arid outskirts – becomes less novel towards the end. Especially, once we realise Kandhari hasn't quite figured out a way to make it land. The reflective commentary around Uma-Gopal's dysfunctional marriage – and how some people are simply not cut-out for 'conjugal bliss' – doesn't reach the heights I imagined; the messaging instead becomes garbled. Apte still swings for the fences till the last scene, but the film (with some dodgy VFX) starts to look less than what was initially promised. As it concludes, it's impossible to not admire the storm that is Karan Kandhari's Sister Midnight – even if it leaves behind a whole lot of wreckage in its wake. Such beautiful wreckage. *Sister Midnight is playing in theatres The Wire is now on WhatsApp. Follow our channel for sharp analysis and opinions on the latest developments.
Time of India
03-06-2025
- Time of India
Radhika Apte out, Nivetha Thomas in Vijay Sethupathi and Puri Jagannadh's film
Vijay Sethupathi 's next film, directed by the dynamic Puri Jagannadh , is already making waves even before going on floors. Initially, it was speculated that actress Radhika Apte , who left a mark with her performance in 'Kabali,' would be playing a key role in the film. Her inclusion generated quite a buzz among fans and cinephiles alike. However, Radhika Apte has now officially announced that she will not be a part of the project, bringing an end to the circulating rumours. Female lead role sees unexpected changes Earlier, reports suggested that the film's female lead would be essayed by Tabu. Following that, talks reportedly progressed with Radhika Apte, and it was believed that she had agreed to take up the role. Her exit from the project came as a surprise, especially after early indications suggested her involvement was confirmed. With the female lead spot vacant once again, fans were eagerly waiting to know who would be cast in her place. Nivetha Thomas likely to step in A latest report from Indiaglitz reveals that actress Nivetha Thomas is likely to step into the role originally planned for Radhika Apte. Nivetha Thomas is no stranger to Tamil cinema audiences, having delivered commendable performances in films like 'Papanasam' (starring Kamal Haasan), 'Darbar' (with Rajinikanth), and 'Jilla' (alongside Vijay). With her strong screen presence and versatile acting, she is expected to bring a new dimension to the character. An official announcement regarding her inclusion in the cast is expected soon. A promising first-time collaboration This upcoming film marks the first collaboration between Vijay Sethupathi and director Puri Jagannadh. Known for his fast-paced, mass action entertainers, Puri's style paired with Vijay Sethupathi's intense screen persona promises something fresh for fans. The film is touted to be a high-octane action drama, and with the cast shaping up intriguingly, expectations are already running high for this exciting venture. Check out our list of the latest Hindi , English , Tamil , Telugu , Malayalam , and Kannada movies . Don't miss our picks for the best Hindi movies , best Tamil movies, and best Telugu films .
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First Post
03-06-2025
- First Post
Radhika Apte, Chhaya Kadam's Sister Midnight Movie Review: Weirdly artistic film that will make you think
Radhika Apte's Sister Midnight film is for those who have a good understanding of cinema and are ready to experiment when it comes to watching different kinds of cinema on screen. read more Director: Karan Kandhari Language: Hindi Cast: Radhika Apte, Ashok Pathak, Chhaya Kadam, Smita Tambe, Subhash Chandra The story is about Uma (Radhika Apte), a newly wedded bride who comes to live with her husband Gopal (Ashok Pathak) in a dingy slum in Mumbai. Sister Midnight through its different visuals shows that life isn't easy and how there is a huge disparity between the rich and poor like the way you have the huge high rises, you too have the shabby, stinking slums. Like there is a saying, when in Mumbai always look up, don't look down. STORY CONTINUES BELOW THIS AD Going back to the story of Sister Midnight, the protagonist Uma (Radhika Apte) is a 'weirdo'. She finds it difficult to adjust in the city. She doesn't know how to take care of her house or her husband. She has been married once before getting married to Gopal. Gopal and Uma were childhood friends, but when Uma was just eight years old they lost touch with each other. She has no manners. She snores loudly like a man, completely oblivious about how to run a house. She rarely eats regular food and when she does, she eats like an animal and is unable to digest dal-chawal. And there is a reason behind it. She loves to suck on the blood of animals and birds and bandages and hides bodies of the animals and birds she kills in the house. Nobody likes Uma in her locality, not because they know that she kills, but because of her weird ways. She just doesn't have a domestic bone in her body and that's what makes the neighbours in her slum suspicious. The only person who kind of loves and supports her is her neighbour played by Chhaya Kadam . While making love with her husband, he dies and keeps the corpse of her husband in the house and when the body starts rotting and another neighbour who starts suspecting her, she kills that woman too. A still from Sister Midnight While watching the film, there are times you may feel as to what's going on? But it's worth the wait. And I must say Radhika Apte with her brilliant craftsmanship has nailed the role of Uma. There aren't many dialogues in the film and Karan Kandhari has relied more on visuals. The story of the film is weirdly different, but it wouldn't have shone with the brilliant performances by Radhika Apte, Ashok Pathak and Chhaya Kadam. Rating: 3 and half out of 5 WATCH the trailer of Radhika Apte, Chhaya Kadam's Sister Midnight movie here:
