Latest news with #SamuelAbiolaRobinson
Hans India
3 days ago
- Entertainment
- Hans India
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.
Time of India
3 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.
