All We Imagine as Light

This film was fine, but I'm struggling to understand what sets it apart. While it's artistic, the film lacks a compelling narrative. It seems to tick the right boxes-a woman of color from Europe directing-but beyond that, what makes it stand out? I'm baffled by the critical acclaim. The acting was solid, the score was minimal, and the direction was decent. It feels like the inclusion of nudity and explicit scenes is what ultimately sold the film. Is this really what filmmakers must resort to in order to cater to Western audiences? The pacing is incredibly slow, which likely appealed to the French audience and contributed to its selection at Cannes.

Cannes loves films like these!

A powerfully melancholic & profoundly intimate slice of social realism that's further bolstered by outstanding performances from its trio of ladies, All We Imagine As Light is as perceptive as it is patient, as vociferous in its silence as it is contemplative in its portrait and is as expertly crafted as it is sensibly told, thus announcing the arrival of a bold & fresh creative voice from the Indian filmmaking scene.

Written & directed by Payal Kapadia in her feature film debut, the film is an earnest reflection of everyday life in the bustling cosmopolitan that is Mumbai and makes for a sobering observation of the confines & constraints within which women of Indian society exist. Kapadia takes her time to acquaint us with her characters, gives them ample space to breathe and shows their plight & desires with tenderness.

What stands out about Kapadia's direction is the compassion in the sketching of her characters and gentleness with which each scene is shot. The cinematography is breathtaking, illuminating the rain-drenched, dimly-lit streets & spaces of the city in gorgeous colour palette, with camera angles that add to its mesmerising quality while additional enrichment comes from the excellent performances, evocative score & layered depths.

Overall, All We Imagine As Light inclines more towards an arthouse endeavour than mainstream offering and isn't going to satisfy every palate. The first half of the film is thoroughly riveting but once the setting changes from Mumbai to the beach town, the story slows down considerably & its runtime is deeply felt too despite the closure it brings. Ruminating on womanhood, loneliness, female desire & insecurities, Kapadia's film is a poetic meditation on migrant life in modern India.

I love films that vividly portray stories about the human condition, and Payal Kapadia's 'All We Imagine As Light' meticulously does that and then goes so far beyond into something that is so magical, so very pristine. Watching it felt like I was inside every frame, intimately.

Kapadia's direction doesn't hold back in any scene, in any frame. While Ranabir Roy also deserves appreciation for the mersmerising cinematography. The screenplay is topnotch. Kani Kusruti achors the film with her splendid, characteristically restrained performance as Prabha. And Chhaya Kadam is a treat to watch. Divya, Hridhu and Azees beaitifully hold their own too.

All in all, it is a raw cinematic gem.

I have a profound appreciation for directors who possess this inherent ability to extract moments of intrigue from the monotonous aspects of life.

These filmmakers can illuminate even the most repetitive daily activities in a fresh manner, all while weaving narratives that delve deeper into complexities of human psychology and interpersonal relationships.

Payal Kapadia is one amongst them.

Her exploration of a wife's tiring loneliness, a young woman's sexual desires, and an elderly woman's struggle to leave her beloved home presents three women in circumstances that test their morals, challenge their upbringing, and, most importantly, confront their flawed perspectives.

While I admire Kapadia's narrative prowess, it is evident that the themes she addresses lack sufficient depth for development. The notable absence of conflict restricts the potential for these stories to evolve into something more substantive.

Not suggesting they didn't bear any fruits, but looking at the subjects being discussed, I had hoped for better.

The dreamy score that meanders throughout this freewheeling film, played on sombre images that evoke nostalgic despair, is a pleasure to watch. I was more fascinated by the makers' attention to detail in carving out a Bombay that goes against the popular image and instead shows you its cloying nature. Three women find it difficult to navigate their lonely lives in the city as the camera follows them in public places and into their privacy. I was able to relate to the characters, having lived in Bombay for decades, but the film does go a bit haywire towards the end, and you could blame it on me I lost track there. Overall, a good experience, thanks to the soundtrack and good use of textual design (especially the red font).

(Watched at its Bombay premiere at the 2024 MAMI Mumbai Film Festival.)