All We Imagine as Light

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.

Light delves into the complex struggles women face in the harsh realities of city life. The film captures the fears and challenges of young, unmarried women dealing with family pressures, a middle-aged woman feeling stuck in her life, and an elderly woman facing homelessness. These portrayals of adulthood's difficulties-loneliness, poor relationships, and uncertain futures-can feel overwhelming and unsettling.

However, the film also offers a glimmer of hope, especially in its final scene, where a sense of possibility shines through, accompanied by uplifting music. It reminds us that despite life's hardships, there is always room for growth, change, and hope for a better future. Light is a poignant reminder that while the struggles of life are real, we have the strength to rise above them and create our own path forward.

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.

"Prabha" (Kani Kusruti) is a nurse in a busy Mumbai hospital who shares her tiny apartment with the usually skint "Anu" (Divya Prabha). We quickly learn that she is married but her husband left her some while ago to work in Germany and she hasn't heard from him in over a year. "Anu", on the other hand, has a different emotional problem. She has fallen in love with a young Muslim man "Shiaz" (Hridhu Haroon) but knows full well that neither her colleagues nor her family will ever permit such a relationship, let alone any marriage - so perhaps elopement is their only solution. Meantime, whilst these women deal with their own domestic issues, their friend "Parvaty" (Chhaya Kadam) is facing eviction from her home as the developers want to move in. Their threats have given way to more practical action as her electricity has been disconnected. In the face of this, she decides it's time to return to her ocean-side village where at least she has her own home. Sympathetic to her plight, the two friends agree to accompany her and it's whilst there that we discover through conversation and flash-backs a little of just how each woman found themselves where they are now, and we take a look at what opportunities might present themselves for their futures. It's a delicately presented story this, set amongst the hustle and bustle of a city that never stops. These women care about others all the time, but are gradually becoming aware that they also have to start caring more about themselves - and for "Prabha" who has attracted the interest of the kindly "Dr. Manoj" (Azees Nedumangad) she has to decide whether to remain faithful to her past or look to what might be next. There's some solid photography throughout capturing both the lively (and frequently rainy) urban busyness as well as the beauty of the water and the ancient peaceful symbolism carved in the caves, and the whole thrust of the narrative illustrates poignantly the choices (or lack of them) that these women can make in a society where conformity is the order of the day. It can be quite fun at times too, these women are not sackcloth and ashes characters, but there's still a potent message that creates an engaging and characterful study that's well worth a couple of hours.

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!