Latest news with #RadhikaApte
NDTV
5 days ago
- Entertainment
- NDTV
Witch, Warrior, Woman: Radhika Apte Is Done Playing Nice
Radhika Apte is a phenomenon - an actor whose range, though often confined to the thematic corridors of thriller and horror, quietly defies the limitations imposed by the very industry that should champion her. Producers, in their calculative pursuit of replicable success, frequently funnel actors into familiar moulds, favoring the comfort of formulaic performances over the untamed potential of artistic exploration. It is a restriction not merely of roles but of artistic agency - an invisible cage that confines Radhika's desire to be as much a storyteller as an actor. 'I'm Tired Of Acting' Apte discovered her flair for writing and directed a revered short film starring Gulshan Devaiah and Shahana Goswami called The Sleepwalkers (2020). An interview with The Indian Express, in which she confesse, 'I'm tired of acting because you don't necessarily get the kind of work you want', reveals a quiet artistic weariness. Her decision to be 'a little choosy' with her projects stands as a delicate assertion of self amid an industry rife with compromise. Within the tension between this imposed limitation and her intrinsic versatility, though, lies her stellar cinematic journey. It is an eloquent paradox: Radhika's work, often celebrated for its layered gravitas, simultaneously reflects a silence about what else could she be. Though undeniably fluent in a wide spectrum of genres, Apte possesses an uncanny command over horror. Her haunting gravitation toward roles that blur the boundary between the supernatural and the psychologically unhinged is unmistakable. Sister Midnight (2024), which is her most recent BAFTA nominated exploration, Phobia (2016), and even an eerie short film like Ahalya (2015) come to mind when one first thinks about this premise. But there are many more commendable, less-talked-about performances that deserve applause. A Woman, In Full At the centre of each performance is a woman on the cusp of reality - shaped by trauma, repression, or forces that defy explanation. Apte, with her instinctive intelligence and intuitive restraint, becomes a vessel for the spectral and the unstable, consistently embodying women who are either haunted or labelled mad - often both. This raises a broader inquiry into how Indian cinema chooses to render female rage, hysteria, and resistance: frequently through horror, myth, and psychological dissolution. Films like Stree (2018), Bulbbul (2020), and Pari (2018) suggest that a woman must either go mad or transcend nature to be heard. And what truly liberates them from having to suppress that madness at all? Despite her acclaimed performances in Shor In The City (2010), Lust Stories (2018), and Andhadhun (2018), my very first encounter with Radhika Apte's spellbinding presence was, quite fittingly during film school, through Sujoy Ghosh's mythological short Ahalya (2015). Apte's performance brilliantly subverts the familiar tale from the Ramayana. Traditionally, Ahalya is deceived by Indra, who disguises himself as her husband and is subsequently punished by Maharshi Gautama for infidelity. Apte's Ahalya is presented almost as a honeytrap - enigmatic, watchful, and in control. Though, the story's modern lens, entwined with mythology, supernatural forces and magical realism grants her character autonomy. Here, Ahalya is not merely a cautionary tale but a quiet force, one who turns the gaze back on the men, making them suffer the consequences of their own unchecked desire. As for Karan Kandhari's Sister Midnight (2024), it is luminous in parts that allow Apte to embrace the unhinged, unregulated and undeterred sense of what it means to surpass being an individual confined in societal boxes of decency and compliance. Though, it is surely a film that feels like a cinephile made it, due to its extremely self-indulgent nature. Sister Midnight isn't really interested in telling a story but rather in consolidating an experience, sort of like an extended metaphor for its entire run time. It doesn't want to explain but reveal Apte as a visceral entity. Similarly, in Shirish Kunder's Kriti (2016), Apte plays Kalpana, Sapan's (Manoj Bajpayee) psychiatrist - though that is a truth only halfway learnt. She is carefully concerned with his girlfriend Kriti's agoraphobia, discussing it with an eerie professional calm. At first, it is presumed she is on Sapan's side, shepherding him through the fog of his inner labyrinth, guiding him toward recovery. But she is the fog. The film's illusion relies on our trust in her rationality, only to unravel it as the real distortion. ' Sapan ', meaning dream, and ' Kalpana ', meaning imaginary - two impossibilities trying to out-invent each other. Together, through a darkly twisted ballet, they eliminate any external force attempting to rupture the fantasy. Rather than Sapan being the creator of Kalpana, Kriti posits her as the orchestrator of his descent. In Pavan Kirpalani's Phobia (2016), Apte herself plays a patient of agoraphobia as Mehek who suffers abuse at the hands of a taxi driver late at night. Sifting empathetically through the unruly terrain of a mental illness, Phobia attempts to humanise anxiety and fear as indicators of the inner subconscious, often serving as a mirror to a lived reality that others cannot perceive. Through various men attempting to eavesdrop and make a move on her, she emerges as a survivor - someone who makes it out by repeatedly reclaiming control over her life, guided by an instinctive and almost premonitional clarity. A Woman Done With Definitions Anurag Kashyap's Clean Shaven is not of the horror or thriller genre, yet one can classify it as a psychological examination of a repressed woman and of how women rarely have control over decisions about their bodies, whether aesthetically, sexually or biologically. Apte plays Archana, a housewife and mother entrenched in an unequal and conservative marriage. Her friendship with the younger Allwyn (Adarsh Gourav), hormonally charged yet emotionally shallow, becomes a mirror of her own stifled desire. He is digitally literate in lust but naïve in empathy, while she, bound by years of suppression, dares to disturb the script written for her. Apte embodies a woman done with men defining her body - whether through a hypersexualised lens, like how Allwyn sees women, or a quietly controlling one like her husband's. Kashyap films her in a space that doubles as a metaphor: a birdcage balcony framing Archana as a golden bird, only to be admired from afar, but never free. She's trapped in her house as she was in Phobia, but here, the imprisonment is of the mind born out of very real societal dangers. And to get out of her house is to escape the dangerous man who wants otherwise. In Kashyap's That Day After Everyday (2013), too, simply stepping out of the building to go to work is a battleground. Men lurk in packs, entitlement stitched into their shadows, while families - mirrors of the same rot - deflect blame onto the women themselves. Yet again, Apte resists, satisfyingly beating them up once and for all. The terror that confines her becomes the very thing she learns to navigate or even weaponise. The Meaning Of Nationalism In Netflix's mini-series Ghoul (2018), Apte's Nida begins as a devout lieutenant officer, disillusioned by the belief that turning in her father for housing subversive literature and 'anti-national' thoughts is an act of national loyalty. What unfolds is a disintegration of that borrowed conviction. Nida comes face to face with the institution's underbelly - and something darker still. The ghoul is a supernatural creature summoned by Nida's father, not out of vengeance but resistance. In this grim theatre of nationalism gone rogue, the ghoul becomes a proxy for justice when no other form is possible. When the officers imprison Nida, branding her a terrorist's daughter who turned out just like him, the insult becomes inheritance. The very monster they tried to contain now possesses her - part inheritance, part choice. It is less a haunting and more a reclamation. She becomes what the system fears the most: conscience with consequence. In Apte's hands, this transformation is neither heroic nor tragic, but inevitable. In most of her works, Apte seems to be sometimes intermingling with and sometimes running away from the psychologically disturbing or the supernatural. But in Sister Midnight, she allows herself to be wholly consumed by the madness of being forced to fit in - whether through type-casted roles in a film or a person inhabiting societal constraints. The film becomes a mirror to the inner disjointedness one feels living in Mumbai, where chaos is both external and internal, and where the self fractures not from ghosts, but from the pressure of cohesion. Claiming Her Story After so many of these roles, perhaps Apte can begin to reclaim her narrative. Not by resisting what has been, but by shaping what will be. She's arrived at a moment where she can act in the kind of projects she truly wants to and write in whichever genre she pleases. Per a recent report, Apte is all set to make her much-anticipated action-fantasy directorial debut with Koyta, which will be produced by Vikramaditya Motwane. While progress brings more women on sets, the industry remains unaccommodating for them. Apte highlights the tension between evolving representation and systemic barriers, underscoring a quiet insistence to reshape storytelling spaces where women's voices can emerge fully, unapologetically, and on their own terms. (The author is a documentary filmmaker and an entertainment writer based in Mumbai.)
Hindustan Times
22-06-2025
- Entertainment
- Hindustan Times
Radhika Apte on the influence of international recognition on Indian audience: Regular public doesn't care
Radhika Apte-starrer Sister Midnight released in India last month after making waves internationally, which includes a nod at BAFTA awards and a screening at Cannes Film Festival. The film had a limited release in India and managed to garner good reviews, but the box office collections weren't as impressive. Radhika Apte(Photo: Instagram) Ask her if international acclaim impacts a film's performance in India and Radhika Apte shrugs it off saying, 'The regular public, I don't know how much of them care about what Cannes or BAFTA is. And rightly so. They don't need to care about anything they don't want to care about. I don't think they would perceive a film in a certain way due to it.' However, she adds that the industry does get influenced by it: 'The film fraternity or certain people who watch world cinema or are interested in international cinema, would definitely experience an impact. But the audiences of the regional or Hindi language, they might not actually know much.' The Indian promotions of the film marked Radhika's first work commitment post embracing motherhood. Ask her how is it different from her pre-motherhood work life and she says, 'In the pre-period, I had so much time and I could make myself available at any point. But the post journey has been hard because I have not been able to attend everything. I couldn't attend Cannes, the New York and LA promotions because I have a very small baby and I didn't want to travel all the time. That's the only difference actually. Otherwise, there has not been any other change.' She is also quite proud of the work she has done in the film: 'It's a story about a small-town misfit who becomes an accident outlaw. It's one of the rare times when I've been really thrown out of my comfort zone. Normally, I approach a character with intellectual dissecting. But here we quite de-intellectualised the whole process. It's more about instinct than thoughts and it was fantastic to work like that,' she ends.
News18
18-06-2025
- Entertainment
- News18
How Radhika Apte Has Normalised Nudity On Screen, Done Bold Scenes From Parched To Sister Midnight
Last Updated: Radhika Apte does not shout from rooftops about going 'bold' in films. She does it with nonchalance, like she has for multiple roles, including the recent one in Sister Midnight. Radhika Apte Bold Roles: Over the last decade, Radhika Apte has carved out a space in Indian and international cinema that defies conventional norms. While many actresses shy away from roles involving nudity or vulnerability — often for fear of being typecast — Radhika has chosen to lean into characters that require a certain physical and emotional nakedness. It's not for provocation, and rarely for glamour. Instead, it seems like a choice rooted in the script and character. What separates her from others who have played 'bold" roles is the absence of performance for attention. She doesn't market herself as fearless, but simply does the work — and lets the work speak for itself. Directors, from Anurag Kashyap to Leena Yadav, have often trusted her with characters that navigate complex emotional terrains — where nudity, as and when it appears, is part of the narrative arc, not a shortcut to headlines. Recently, CBFC ordered to remove a nudity scene from Karan Kandhari's 'Sister Midnight', Radhika Apte's most-recent release, which has now hit OTT platform Tubi, with an 'A' certificate. Here's a list of boldest scenes in Radhika Apte's film career: That Day After Everyday (2013) In Anurag Kashyap's short film, Radhika plays one of three women confronting street harassment. Though there is no explicit nudity, the subtle physicality — bruises on face and a visibly guarded posture — convey a body that has been hurt and transforming. The film brought her physical expression into the foreground, turning it into a tool of empowerment rather than reducing it to just sexuality. Radhika had once opened up on how she connected immediately with the film's message. 'As Indian women we get eve‑teased a lot… it was really easy to connect," she had said. Badlapur (2015) In the film Radhika Apte played Koko, whose cameo included a disturbing scene where she's coerced into undressing by Varun Dhawan's character. The moment was uncomfortable and served the film's dark tone rather than aiming for titillation. Radhika was lauded for delivering it with restraint, letting discomfort and tension take the lead than just nudity. True to form, she never sensationalised it — treating the scene as part of the narrative, not a publicity hook. Parched (2016) Leena Yadav's Parched marked a major turning point in Radhika Apte's career. Radhika's portrayal of Lajjo included a leaked nude scene that made waves online and dominated headlines. In a chat with The News Minute, she said, 'A female body is not just sexual. But this is a trap men are prone to too, not just women. that was a step towards feeling more liberated about my body. You watch a certain thing, you read a certain way, you aspire to be that person who doesn't have inhibitions. But actually taking that step to be that, to practice what you believe in. Taking that step made me feel happy." Madly (2016) In Anurag Kashyap's 'Clean Shaven" segment from the anthology 'Madly", Radhika Apte plays Archana, a woman navigating marital trauma. Her character forms a connection with her neighbour Allwyn (Adarsh Gourav), culminating in a scene of brief frontal nudity — driven solely by vulnerability, not provocation. When stills from the tastefully shot short leaked online, Radhika called the scene 'extremely liberating," saying it helped her shed deep-rooted body insecurities. Her performance earned her the Best Actress award at Tribeca Film Festival. Opening up on the scene, Anurag Kashyap told The Times Of India in an interview, 'It took us so much time to do it in a non-sexual way, as it is meant to be absolutely non-sexual and we took all the care we could. It was not easy to find an actor who is brave enough to participate in it. And then, all of a sudden after a month from nowhere, this video popped up online." The Wedding Guest (2018) In this film, Radhika Apte starred opposite Dev Patel, playing Samira, a young bride-to-be caught in a cross-border kidnapping plot. While the film is filled with suspense, the moment that truly lingered with the audience was the intimate love scene between Samira and Jay (Dev Patel). The scene was leaked online but grabbed eyeballs not for eroticism, but for how emotionally raw it felt . The scene earned critical praise for both its restraint and realism. When the leaked stills became the talking point, Radhika said, as reported in Republic, 'The film… has many other beautiful sequences and the fact that one particular sex scene got leaked because of the psychotic mentality of society." Sister Midnight (2024) On the personal front, Radhika Apte and her husband, Benedict Taylor, welcomed their first child in December 2024. First Published:
Time of India
18-06-2025
- Entertainment
- Time of India
Sister Midnight: Where to watch Radhika Apte's bold feminist drama online
Sister Midnight OTT release: Sister Midnight, which had a limited theatrical release in India on May 30, has proved to be a game-changer for Radhika Apte. The film features a bold theme and gives her the opportunity to showcase her abilities to the fullest. In India, Sister Midnight is available to watch on Tubi. In the UK, it is available to stream on services such as Apple TV and Google Play. What's the story about? Sister Midnight is a dark comedy drama that centres on a newly-married woman who arrives in Mumbai with her husband and soon finds herself stuck in a dull marriage. Her husband neglects her and never gets intimate with her. She develops a bond with an 'aunty' who lives next door, but that too adds to her worries. Meet the cast and crew Sister Midnight features Radhika Apte as Uma, a married woman. The actress is a known name in the film industry. Some of her biggest releases include Kabali, Parched, and Badlapur. She also essayed key roles in Sacred Games and Ghoul. She is joined by Ashok Pathak, who plays her husband, Gopal. The 40-year-old is best known for his work on Panchayat. The cast of Sister Midnight also includes Dev Raaz, Chhaya Kadam and Smita Tambe. Sister Midnight is directed by Karan Kandhari, Paul Banks serves as the music director.
Mint
18-06-2025
- Entertainment
- Mint
Sister Midnight OTT release: When and where to watch Radhika Apte's ‘boldest' movie online
Sister Midnight OTT release: Radhika Apte's movie, Sister Midnight, is all set to debut online for OTT users in India, following its digital release in the UK. The movie features Radhika Apte in what has been touted as her 'boldest role yet' alongside Ashok Pathak, Chhaya Kadam, and Smita Tambe. The dark comedy, directed by Karan Kandhari, was nominated for Outstanding British Debut at this year's BAFTA awards. It was also received warmly at the Cannes Film Festival, where it won a Golden Camera nomination and a spot in the Directors' Fortnight section. According to an official announcement by distributor Altitude Films, Sister Midnight has begun streaming on a VOD (Video-on-Demand) basis on Apple TV, Prime Video, and Google Play in the UK. Sharing a review by American film critic Mark Kermode, Altitude Films wrote that the movie is 'Very sharp. Very funny. Very surprising.' 'BAFTA-nominated SISTER MIDNIGHT is available to buy or rent on digital now!' they wrote in their Instagram post. However, Sister Midnight is still not available on any OTT platforms for Indian viewers who saw a limited theatrical release on May 30. But, according to media reports, the Radhika Apte movie will soon debut online for Indian users, too, likely on Amazon Prime Video. An official confirmation for Indian viewers is awaited. Directed with an offbeat vision, the movie follows Uma, played by Radhika Apte, a young bride stuck in an awkward arranged marriage in Mumbai. As her loneliness grows, so do her animalistic urges, turning the story into a strange, chaotic, and often hilarious descent into madness.
