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First Post
3 days ago
- Entertainment
- First Post
Dilli Dark Movie Review: A sharp satire set in chaotic Delhi
Dilli Dark written and directed by debutant Dibakar Das Roy is a dark comedy where a man from Nigeria struggles to make Delhi his home. But falls into several traps… read more The movie by Dibakar Das highlights the different struggles in the capital city by outsiders who are trying hard to make Delhi home. But they are not being accepted. The movie shows how Michael Okeke (Samuel Abiola Robinson), a Nigerian MBA student is struggling to survive and even after learning Hindi and understanding it, the man is not being accepted by the city mostly because he looks different. And we all know how the city has an obsession for fair skinned and sharp featured men and women. And this Nigerian man stands out because of the texture of his hair, the colour of his skin, flat nose and pendulous lips. STORY CONTINUES BELOW THIS AD Those who have lived in Delhi know that roads in the city are like gol chakkars (round circles). When the English built Delhi, they planned the city in circles. Michael Okeke (Samuel Abiola Robinson) mentions in the film, 'Ever since then people like me have been going round and round.' He feels the roads go nowhere. Delhi is indeed a harsh city with extreme climates, pollution and brash people. Delhi screws everyone's happiness initially, but once you get accepted, you realise that it is the place for prosperity. Everybody wants to make it big in Delhi and so does Michael Okeke (Samuel Abiola Robinson). The city is like New York for many Nigerians. A mecca of opportunities. But there are no easy tricks to survive in the city or even make friends because if you look different, they either get threatened or they find you funny. And that's exactly the case for Michael. A still from Dilli Dark movie Delhi actually doesn't belong to any particular caste or community. Unlike Bombay or Calcutta, Delhi being a union territory doesn't have a state language. So, literally everybody in the city is threatened and insecure. Above everything, the city's obsession with good looks reigns supreme. Yet we all love Delhi for its brilliant infrastructure. The movie shows how being a cosmopolitan city, it fails to cover up on the racism bit. But one thing that is great about the city is they are right on the face with their opinions and their punches too, they don't backstab for not knowing the language or for not understanding their culture. STORY CONTINUES BELOW THIS AD Dibakar Das Roy's sharp take on the city and deep understanding of the culture of the place makes it a delightful watch. Wonder why these films take so much time to make it in cinema halls. This movie proves it yet again that you don't need big stars for a film to be liked. All you need is a story that touches your heart and compelling performances. Rating: 3 and half out of 5
New Indian Express
6 days ago
- Entertainment
- New Indian Express
‘Dilli Dark' is a film about the outsider syndrome and some really dark horses
Michael Okeke, the protagonist of the film Dilli Dark, is young, dark-skinned and African. He smarts as Delhi looks at him as an outsider, and then realises that the outsiders are already here—as neighbours, in history books, and in the subconscious of every 'Delhiite' who got here before he did. It is not personal, it is a reflex. As his friend Debu says: 'It's not ok, just the way it is.' Debu (played brilliantly by actor-writer Shantanu Anam, a Delhi boy), for instance, as a Bengali, will always be suspect in the eyes of his north Indian landlord for his non-vegetarianism. Mansi (Geetika Ohlyan, who played the cop with tantrums in Soni) the godwoman's life will always be precarious in the city until she attracts big-league devotees and gets a spot on the slick chat shows. As for Yakut, the Abyssinian lover of Razia Sultan, whom Debu suggests Okeke adopt as role model, he was top gun only for a while when he had the heart of Delhi's queen and roamed around with her on a big white horse. Dilli Dark is Dibakar Das Roy's first feature. He has directed films in various formats. And he may well turn out to be a worthy inheritor of Dibakar Banerjee's mantle of being the director par excellence of 'Delhi films' —Khosla ka Ghosla, Oye Lucky Oye, LSD, and so on. He has the potential. His sense of comedy is spot on; he now only needs to make his storytelling and character-building more layered. Dilli Dark created quite a buzz on the festival circuit last year, and is set to have its release in Delhi theatres this weekend.
Time of India
7 days ago
- Entertainment
- Time of India
Dilli Dark Movie Review: A clever satire that sometimes trips over its own ambition
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.
