All We Imagine As Light is an intimate drama of contrasts. It juxtaposes the chaotic buzz of Mumbai against the natural tranquility of the jungle, a divergence that is reflected in both sound design (constant noise in Mumbai; empty silence amid the trees) and color palette (Mumbai is all shades of blue; the village contains only greens and browns).
The most important contrast is between two women who share an apartment in Mumbai. First, there is Anu (played by Divya Prabha), a young nurse experiencing the joys of burgeoning romance—albeit with a Muslim boy who is sure to meet her parents’ disapproval. Then, there is Prabha (Kani Kusruti), an older nurse who is deep in the pain of a love lost and forgotten, after her husband left for Germany long ago and stopped calling. Besides Anu and Prabha, there’s also a third Mumbai nurse named Parvaty (Chhaya Kadam), an older widow who attempts to save her home from greedy property developers trying to evict her following her husband’s death. Amidst the lush background of busy Mumbai, these three women try to find peace in a world of chaos, one that could not care less about their problems.
Winner of the Grand Prix at this year’s Cannes Film Festival, All We Imagine As Light—the first Indian film to achieve this award—cements director Payal Kapadia in cinema history. Even before this fictional feature debut though, Kapadia already had a strong record of accomplishment at Cannes: her 2017 short film Afternoon Clouds was the only Indian film selected for the 70th Cannes Film Festival, and her celebrated 2021 documentary A Night of Knowing Nothing won her the Golden Eye award for best documentary film. Yet All We Imagine As Light is Kapadia’s greatest success thus far.
The film begins with a rich sense of humanity and realism, highlighting Kapadia’s documentary background. Over a montage of Mumbai streets and working class people, we hear overlapping voiceovers spoken by anonymous characters, as if the city itself is speaking to us. Gradually, the film focuses on the three central women, evolving into a warm ensemble drama about their lives, loves, and pains.
With its female-centered story, All We Imagine As Light is undeniably political. Yet, Kapadia manages a light touch, exploring complex issues of gender, class, caste, religion, and family in a way that feels natural, true to the characters, and never distracting. No doubt this female-centered story resonated with the Cannes jury, led by Greta Gerwig (Barbie, Little Women).
With its beautiful soundtrack, dreamy cinematography, and subtle performances, it is easy to fall in love with All We Imagine As Light. The movie’s pacing may not be for everyone, especially in the second half, where the hustle of Mumbai is left behind and replaced with the dreamy languor of a seaside village. There is also a plot point in the third act that almost feels surreal in how much it strains credulity. Yet, for those who are willing to sink into this tender picture, it will be a rewarding experience.
Despite the contrasts within, All We Imagine As Light is ultimately a film of solidarity, empathy, and unity, as its three female protagonists support one another on a journey from darkness into light. Whether this light is real, as a transformative change, or simply imagined, as just a brief moment of beauty and respite in an unfair world, it is comforting to feel its warmth.
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All We Imagine As Light (Malayalam: പ്രഭയായ് നിനച്ചതെല്ലാം)— India/France/Netherlands/Luxembourg. Dialog in Malayalam, Hindi, and Marathi. Directed by Payal Kapadia. Running time 1hr 55min. First released May 23, 2024 (Cannes). Starring Kani Kusruti, Divya Prabha, Chhaya Kadam, Hridhu Haroon, Azees Nedumangad.
This article is part of Cinema Escapist’s dedicated coverage of the 2024 Vancouver International Film Festival.