Explore the poetic journey of “All We Imagine as Light,” directed by Payal Kapadia, which won the Grand Prix at Cannes 2024, marking a milestone for Indian cinema.
Payal Kapadia’s “All We Imagine as Light,” her second feature after the acclaimed “A Night of Knowing Nothing,” has illuminated the international film stage with its poetic portrayal of urban life and sisterhood. This film, which recently won the Grand Prix at the 2024 Cannes Film Festival, showcases Kapadia’s exceptional ability to find beauty in the mundane and bring to light the hidden poetry within everyday Indian life.
“All We Imagine as Light” follows Prabha, a hardworking nurse played by Kani Kusruti. Prabha’s life in Mumbai is a routine of long, tiring days at a slightly shabby local hospital, where she tends to patients with a conspiratorial compassion that she rarely extends to herself. This dynamic is exemplified in her interactions with patients, such as an elderly woman beset by hallucinations of her deceased husband, and her best friend, Parvati (Chhaya Kadam), who faces eviction by ruthless property developers. Prabha’s own arranged marriage has been in limbo since her husband left for Germany years ago, sending fewer and fewer letters.
Prabha shares her apartment with fellow nurse Anu (Divya Prabha), a young woman involved in a clandestine relationship with a Muslim boy, Shiaz (Hridu Haroon). At first, their relationship is strained, with Anu seeing Prabha as a relic of a more conservative generation. However, as the narrative unfolds, their bond deepens, revealing their mutual dedication to their profession and their shared selflessness. Anu’s rebellious nature contrasts sharply with Prabha’s practicality, creating a dynamic reminiscent of the sisters in Jane Austen’s “Sense and Sensibility.”
The film beautifully captures the essence of Mumbai, with Ranabir Das’s cinematography showcasing the city in a myriad of lights—from glowing cellphone screens to fireworks over the skyline. This visual richness enhances the film’s exploration of themes like loneliness and connection. One poignant scene sees Prabha and Doctor Manoj (Azeez Nedumangad), a newcomer struggling with the local language, sharing heartfelt confidences during a nighttime walk through the city. These moments underscore the lonesome romance of Mumbai after dark, a testament to Kapadia’s talent for creating intimate, emotionally resonant scenes.
As the story progresses, Prabha and Anu travel to a village by the sea, where Parvati has decided to move back into her childhood home, tired of the constant harassment by developers. This shift from the urban sprawl to the serene village landscape allows the film to delve deeper into the bonds of mutual support that have formed between the women. The tranquil environment of Kerala provides a stark contrast to the bustling life of Mumbai, emphasizing the theme of displacement and the search for belonging.
Two key events bring Prabha and Anu closer: the arrival of a pregnant cat, which becomes their shared pet, and a package from Prabha’s estranged husband containing a shiny, expensive-looking rice cooker. This seemingly alien gadget disturbs Prabha, symbolizing the unresolved state of her marriage. Meanwhile, Anu’s affair with Shiaz comes out into the open when he follows her to the village. This revelation and the shared moments of caring for the cat help Prabha realize that she has found a new family in Anu and Parvati, making her husband’s potential return less significant.
The film’s title is subtly explained through a story about a factory worker who, due to grueling shifts, could barely remember daylight. This metaphor resonates with the film’s characters, who must find light and hope within themselves amidst their challenging circumstances. The film ends on a hopeful note, suggesting that the women will not suffer the same fate, with light emanating from within them, a powerful message of resilience and self-discovery.
The Rise of Payal Kapadia
Payal Kapadia’s journey to Cannes has been as compelling as her films. The 38-year-old director, already familiar with the global stage, made history by becoming the first female director and the first Indian in three decades to compete for the Grand Prix at Cannes. Her previous work, “A Night of Knowing Nothing,” a documentary about caste-based restrictions, won the prestigious Oeil d’Or (Golden Eye) award at Cannes in 2021.
Kapadia’s background at the Film & Television Institute of India (FTII) significantly shaped her filmmaking perspective. She was a key figure in the 2015 protests against the appointment of Gajendra Chauhan as FTII Chairman, a move seen as politically motivated. Despite facing legal challenges and disciplinary actions, Kapadia and her fellow students remained steadfast in their protest, underscoring her commitment to social justice, a theme often reflected in her films.
Impact and Future Prospects
The success of “All We Imagine as Light” at Cannes has significant implications for Indian cinema. It not only highlights Kapadia’s talent but also brings attention to the broader potential of Indian filmmakers to compete on the global stage. This win positions the film as a strong contender for India’s entry in the Best International Feature Film category at the Oscars 2025.
In celebrating her Cannes victory, Kapadia called for greater representation of Indian films globally. Her achievement has been recognized by prominent industry figures like Oscar-winning sound designer Resul Pookutty, who emphasized the importance of institutes like FTII in nurturing unique cinematic voices.
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