Reviewed on May 24th at the 2024 Cannes Film Festival – Competition. 118 Mins
Cast: Divya Prabha, Chhaya Kadam, Kani Kusruti, Hridhu Haroon, Azees Nedumangad
Genre: Drama, Romance
Director: Payal Kapadia
In Irish Cinemas: 29th November 2024
A tender, poetic exploration of sisterhood set against the vibrant tapestry of modern India, All We Imagine As Light firmly establishes Payal Kapadia as one of contemporary cinema’s most vital voices. With its evocative storytelling and deep empathy, the film immerses viewers in a world of personal and cultural complexity.
Kapadia draws us into Mumbai’s relentless energy in the opening moments of All We Imagine As Light. The city pulses with life—a chaotic symphony of heat, humidity, and the unceasing rhythms of its people. The sounds of the metropolis intertwine with the voices of its countless inhabitants, who share fleeting glimpses of their journeys to claim a space in this vast urban sprawl. This auditory collage captures the essence of Mumbai as a melting pot of diverse Indian languages and experiences, layered and coexisting in harmony and discord.
Kapadia’s gaze effortlessly shifts from the city’s sprawling streets into the intimate confines of a local train. The camera lingers momentarily on the women commuters, their faces bearing the marks of a long day and their movements framed by quiet resilience. Here, amidst the ordinary yet profound daily life rituals, we meet Anu (Divya Prabha) and Prabha (Kani Kusruti), the film’s central characters.
Kapadia invites us into their world from this point forward, crafting a narrative imbued with remarkable tenderness and insight. Through her precise direction and compassionate lens, she weaves a story that unfolds like a sudden monsoon shower—unexpected, drenching, and profoundly transformative. This lyrical journey is both a meditation on the private lives of these women and a broader reflection on the shared realities of modern India.
Anu and Prabha, both hailing from Kerala, work in the same hospital in Mumbai. Their lives are intertwined not only by their shared workplace but also by their status as roommates—a detail that emerges as the story unfolds. Anu, young and effervescent, often sneaks away from work early to meet her lover, Shiaz (Hridhu Haroon), a Muslim boy who lives nearby. Their interfaith relationship becomes fodder for gossip among the hospital’s nurses, as the sprawling yet intimate city of Mumbai seems to magnify every secret. One unforgettable moment captures Anu sending kisses to Shiaz through the clouds, and, as if answering her silent prayer, the sky opens up in rain—a poetic gesture from the city itself, almost conspiring to unite the lovers.
In contrast, Prabha, the hospital’s head nurse, is disciplined and reserved, often scolding Anu for her impulsive behavior. When she receives an unexpected package—a rice cooker—from Germany, where her husband had gone a year ago for work, she is stunned. The gift, arriving without explanation, stirs a flood of emotions, reopening the void of their year-long silence. In a heart-wrenching moment at the end of a grueling workday, Prabha cradles the rice cooker, a gesture that encapsulates her longing and the ache of unspoken distance.
The third woman in this narrative, Parvaty (played by Chhaya Kadam, known for Laapataa Ladies), is a middle-aged hospital worker facing eviction from her apartment. A widow who has lived in Mumbai for over two decades, Parvaty lacks the paperwork to prove her residency. Developers eager to demolish her building and erect a new structure relentlessly hound her. After a protracted struggle, she loses the battle and decides to return to her seaside village in Ratnagiri. Anu and Prabha help her relocate, though they themselves are left adrift in the labyrinth of Mumbai—a city both expansive and isolating.
As the pace of life slows in Ratnagiri, the three women find unexpected freedom to reconnect with their inner desires. Anu, overwhelmed by her longing for Shiaz, discovers that he has followed her there, intensifying her yearning for union. Parvaty, meanwhile, begins to rebuild her life, finding solace in the rhythms of her coastal village. Prabha, however, is left grappling with questions of identity and purpose. Ranabir Das’s evocative cinematography and Clément Pinteaux’s precise editing heighten these emotional arcs, particularly in a mesmerizing moment of catharsis for Prabha. It is a sequence so raw and profound that it transcends description, brought to life through Kani Kusruti’s masterful performance. Her portrayal of Prabha is rich with nuance, her restrained exterior betraying a thousand untold stories. Her every gesture and glance resonate deeply, making her utterly captivating.
Kapadia’s portrayal of women in All We Imagine As Light is a striking departure from the norms of mainstream Indian cinema.
Overall: 7/10
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