Manashimaya
Payal Kapadia’s “All We Imagine as Light” is a lyrical and delicate film that premiered at the Cannes Film Festival, earning praise as a “magical ode to nocturnal Mumbai.” This film, set largely after dark, captures the romantic and emotional essence of Mumbai at night. As the city’s honking car horns are muffled by pouring rain and electric lights cast a hazy glow, the film explores the yearnings and dreams that people often suppress during the bustling daylight hours.
Kapadia’s debut feature film, “A Night of Knowing Nothing,” was a documentary with fictional elements, and “All We Imagine as Light” initially appears to follow a similar path. The opening scenes show people glancing at the camera while clearing rubbish, setting up market stalls, and queuing for commuter trains, with voiceovers reflecting on the city’s magnetic appeal. However, the film soon transitions into an ensemble drama about three strong women working in the same hospital.
Kapadia’s magical ode to nocturnal Mumbai focuses on Prabha (Kani Kusruti), a dedicated nurse whose husband moved to Germany to work in a factory shortly after their arranged marriage. Despite not hearing from him for over a year, Prabha dreams of his return, even as a kindly doctor who writes poems and bakes desserts for her shows tentative interest. This film is a delicate triple portrait of women who have devoted their lives to helping others, yet have received little in return regarding money, status, or freedom.
The film’s feminist theme is subtly woven into the narrative, beginning with an amusing scene where an elderly patient complains to Prabha that her late husband’s ghost keeps bothering her while she watches television. Another character, Anu, discreetly gives contraceptive pills to a young woman who already has three children. Despite these moments, Kapadia’s magical ode to nocturnal Mumbai avoids polemic, instead focusing on the bittersweet stories of three friends who simply want to continue their lives as they are.
Kapadia’s storytelling is clear and lyrical, making her magical ode to nocturnal Mumbai a universal and emotional film. This Indian-French co-production also has the feel of an American or European indie comedy-drama, making it relatable to anyone who has ever felt alone in a city or been captivated by a film on the subject. Notably, “All We Imagine as Light” is the first Indian film from a female director to compete in the main Competition strand at Cannes. With Greta Gerwig chairing the Competition jury, Kapadia’s warm, female-led film stands a strong chance of winning when the Festival’s prizes are announced.
Whether or not Kapadia takes home a trophy, her magical ode to nocturnal Mumbai is poised to be one of those international films that break out of the art-house festival circuit and into cinemas and hearts worldwide. “All We Imagine as Light” is a testament to the universal appeal of heartfelt storytelling and the enduring magic of Mumbai’s nocturnal charm.
In conclusion, Payal Kapadia’s “All We Imagine as Light” is a beautiful, magical ode to nocturnal Mumbai that has captivated audiences at Cannes and promises to enchant viewers globally. This film is a must-watch for anyone who appreciates the delicate interplay of light, emotion, and storytelling in cinema.