User reviews

I really wanted to like this film after hearing so many positive reviews however it falls short of a masterpiece for me and is just another forgettable film that does nothing spectacular.

The film is about a Malayali nurse working in Bombay who lives away from her husband, she shares a room with another nurse who has a lover and they both find it hard to find a place. Third story is about an old woman being driven out of the house she lives in.

To my dismay the film gives in too much to the cliched tropes to the point of being downright predictable and boring. The protagonist is longing for a connection albeit she guards herself against it, at many points she is the super ego of the film shutting down the despairing cries of others with dictums yet by the end trying to imagine light in the darkness of her loneliness.

In that sense, her roommate is her antithesis, she has no inhibitions, she is in love with a Muslim boy and they are looking for a place to make love.

Recognize the beaten path of a storyline of a subdued woman, she is shown to be too righteous, almost like a nun, as a matter of fact the background score of the film is taken from a piece composed by an Ethiopian nun. In many ways it reminded me of Ishiguro's "Remains of the day". The story of the roommate and her lover really didn't add that much to the story other than working as a filler for sex, I'm personally not a big fan of misplaced nudity and sex in films, it's exploitative in nature and does little to carry the story.

The story about the old lady started off as a social commentary on class, and the hidden rules of society, at one point she questions whether she should confront the reality of her existence or get indulged in the illusion like everyone else. She ends up leaving the city for her hometown. This story goes nowhere and thus it felt underwhelming.

All in all, the film doesn't say anything new, it does not punch you in the gut like Salaam Bombay, it doesn't make you somber like The Lunchbox however one cannot help but admire Payal Kapadia's craft, I have seen numerous films on Bombay but nothing captures it like the film does but it felt like - specially in the second half of the film - that she was trying very hard to make each story reconcile and come to closure.

By no means I'm calling this a bad film, it's crafty and well made but fails to say anything that has not been said before through film.

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!

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.

Mumbai, one of the most cosmopolitan cities in the country, is home to Prabha and Anu, two working nurses. The multicultural air of the city is evident in the movie's opening scene, which has voiceovers in Bengali, Hindi, and Marathi from Mumbai locals. With material shot in a documentary format, the movie begins with a busy Mumbai that captures the daily bustle of a metropolis home to 22 million people. Voice-overs from real labourers who have moved to Mumbai in quest of employment are mixed with the colourful cityscape.

Prabha and Anu, who both work at a busy hospital, Prabha as the chief nurse and Anu as the receptionist, are the focus of the movie. The aspirations and hardships of migrants in Mumbai are embodied by both ladies. A hint of sadness is there in Prabha's tale; shortly after their marriage, her husband went to take a job in Germany, and they haven't spoken since. However, Anu is involved in a secret romantic affair with a young Muslim guy, which is obvious to attract criticism from her family, along with social pressures and Islamophobia, even in the most metropolitan city. Their personal lives and more general social themes are interwoven in the story. Through their shared poetry and peaceful walks back home from work, a fellow Malayali doctor who is struggling with Hindi offers Prabha a rare hope of tenderness and connection. In the meantime, Anu navigates the complexities of her interfaith relationship amidst increasing societal tensions under Modi's right-wing government.

The film by Kapadia is a criticism on the socioeconomic struggles that the working class in India faces. The subplot featuring Parvaty, a hospital cook facing eviction from her own home where she has lived for ages because she lacks the necessary documents, highlights the grim reality of the nation's recent political changes. Kapadia uses a cinematic style that is both personal and wide-ranging. The gentler scenes in the movie, like Prabha reading poetry by torch or getting intimate with a rice cooker her husband sent her, contrast with Mumbai's cacophony.

In the third act of the movie, the story moves from the hustle and bustle of the city to the peace and quiet of rural India. This shift provides an escape from the grind of daily living. Prabha's fantasy scene, in which she finds a castaway on a beach and saves him, represents her desire for a fresh start and human connection.

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.)

All We Imagine As Light is a beautiful and poetic tale of love, friendship and self-discovery by Indian filmmaker Payal Kapadia, telling the story of two nurses living in Mumbai who see a little wave of events ripple through their otherwise routinary lives. I really loved the film's color palettes, first of blues, and later reds and greens. It's depiction of city life and urban loneliness. Its gentle soundtrack, pace and characters. It feels like staying in on a rainy day, looking out your window and seeing a rainbow form from a timid sunray filtering through the clouds. A fleeting moment of magic.

Watching this film at it's premiere in Cannes was one of my highlights.

The film depicts the interlaced feminine relationships that exist in the fast paced and wet city of Mumbai. What Payal and Ranabir have achieved with the visual look, and the colour grade had me in awe.

What I loved the most was the poetic evocation of monsoon in the sweet moments of relief from the hotness but also the hardships that come with the storm. We feel with the characters' journey of self discovery - as they fight the the suffocating confines of our traditional culture and in turn replace it with newness and hope that comes with acceptance.

Congratulations to the whole team. I can't wait to watch it again!

Quiet and fragile, 'All We Imagine as Light' delicately unfolds life in Mumbai, capturing the solitude of its protagonists in a city full of movement. The film beautifully juxtaposes the stillness of personal struggles against the relentless pace of urban life, creating an intimate yet universal portrait of longing and resilience. However, while the storytelling is subtle and poetic, it lacks a true climax, leaving certain narrative threads unresolved. Despite this, the film's delicate atmosphere, compelling performances, and evocative cinematography make it a poignant, meditative experience that lingers beyond the screen.

Prabha and Anu are roommates who moved to Mumbai to work as nurses. The city life is supposed to offer more opportunities and freedom but it looks like the stiff old traditions keep having them trapped and suffering: Prabha has lived over a year depressed and half-frozen waiting for a call from her husband who doesn't seem to exist; Anu has to see her decent boyfriend in secret because he's a Muslim and because, as the tradition goes, it's the parents who choose the husband.

We see both the urban sprawl and the coastal countryside with the eyes of those miserable but virtuous women, the noise being dimmed and replaced by sounds of beautiful music. We see and feel longing for love in their eyes and hope ourselves for the change, for the transformation, for the light to shine on their futures.

Very subtle, deep, delicate and inspirational.

"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.

Invariably, there's always one film release each year that's vastly and inexplicably overrated, both in terms of critical acclaim and awards season recognition, and this disappointing, tediously paced slog tops my list of candidates for 2024. Writer-director Payal Kapadia's examination of contemporary working class conditions in Mumbai follows the stories of three women who struggle with getting by financially, vocationally and personally, all of them having relocated to the city from their rural roots in search of illusory, overpromised opportunities. The picture has been widely praised for its gentle treatment of its subject, along with its sensitive and nuanced handling of its principals' lives. To me, however, this is a politely euphemistic way of saying it's boring (I can't recall how many times I checked my watch during the screening I attended). Moreover, this offering tries unsuccessfully to cover too much ground (and not very well at that), including an array of topics ranging from loneliness to fiscal hardship to gentrification to outmoded traditions and more. I also don't find this offering to be especially groundbreaking in terms of its subject matter; its themes of working class struggles and personal isolation, in my estimation, are addressed far more effectively in other Indian films like "The Lunchbox" (2013) and "Fire in the Mountains" (2021), which present more compelling and more engaging treatments of their stories (watch those pictures instead). On top of all this, there are some narrative elements that don't feel sufficiently fleshed out or that are either implausible or woefully executed surrealistically (it's subtlety often makes it hard to tell which is truly the case). Admittedly, the film's aesthetics, such as its cinematography, have much going for them, but they're not nearly enough to make up for the picture's larger and more significant shortcomings. At the risk of being ridiculed, I truly don't believe "All We Imagine as Light" is rightfully worthy of the many accolades it has received from the Golden Globe Awards, the Critics Choice Awards, the Independent Spirit Awards, the National Board of Review, and the Cannes and Chicago Film Festivals, among others. With so many other (and better) international film offerings out there, it's regrettable that these competitions and festivals have squandered nominations and awards on this needlessly hyped undercooked release.

I watched this film because of its hype and af course an Indian film winning awards at cannes, should be a great film.

But this film is pretty average Tbh This film is about three womens who live in Mumbai and have there own problems And how they find happiness with each other The crew of the film says they have shown the most realistic portrayal of Mumbai lower working class But if they actually wanted to show the realistic portrayal of Mumbai they could have shown the Chawls or dharavi But the film does not captures a single shot of it.

Though the monologue where prabha says that this city is an illusion and if you dont adapt to it, you will be lost in this city Was actually a great line.

Else the drama and the story in 1st half is great but somehow loses its plot in 2nd half It is filled with unnecessary 18+ scenes It does not lead to anything

overall the ending could be a lot better.

This film dramatizes many of the challenges faced by single women living in Bombay, and underscores their resiliency. All of the women here are nurses at the same hospital, but there the resemblance ends as each has her own particular set of problems and, one could say, solutions. Desire, fear, regret and stolid patience are the emotions that continually alternate as the story quietly unfolds.

Probably the biggest asset is the screenplay, which offers unusually rich and thoughtful dialogues among the characters. The amount of action in the plot seems just sufficient to provide a scaffold for conversations where people have space to be uncommonly honest and unguarded with one another, even when they are lying or posturing. The acting is uniformly excellent and rises to the level of the writing -- there are no false notes, although there are some tantalizing loose ends.

The photography and editing are also quite good at creating an atmosphere that is reflective and somewhat detached, complementing the quiet intensity of the characters' interactions. The detachment is amplified at several points where the film seems to incorporate documentary elements or certainly creates that kind of feeling.

I wasn't always crazy about the music and how it was invoked, but this is a minor quibble that many may not share.

I dispute another reviewer's assertion that this movie was conceived of as "awards bait." In my opinion, there's too much heart and honesty to this movie for it to be categorized as cynical or manipulative -- certainly no more than with any other movie that seeks to tell an important story in a compelling and beautiful way. And this film takes plenty of risks that I can't imagine going over well in increasingly sectarian and puritanical India.

I highly recommend "All We Imagine as Light."

All we imagine as light

A vivid portrayal of raw women emotions in deep layers through a realistic trace.

The movie dealts with the emotional and social life of 3 women who are cordially connected towards each other. Payal has shown the hardships,insecurities,feelings and hopes of the women on the backdrop of fast moving Bombay - The city of dreams.

Payal through her screenplay has shown the nuances of feelings in womanhood across varying age groups using the day and night visual narrative template. The first half moved steadily with interesting developments whereas the latter half paced gradually, at some points leaving the audience disheartened leading to a sudden closure.

Impressive performances by Kani Kusruthi,Divya Prabhakar & Chhaya Khadam with their district and standout portrayals of their character shades. Hridhu Haroon and Azees Nedumangad has done their part to satisfaction.

The hands of Ranabir Das behind the camera has beautifully shown the Bombay city in its true colours.

A small good movie highlighting the inner emotions of women backed with solid performances.

Rating - 3.5/5.

Words will never do justice to describe All We Imagine as Light because this is a film to be felt. We all feel differently, and so I can't guarantee everyone will have the same experience, but what this film gave me in less than 2 hours was a mixture of emotions that ultimately boils down to one thing: it made me feel human.

Between the darkness and the light. Between tradition and modernity. Between the constraints of society and our necessary individualities. Between the chaos of an urban jungle and the calm monotony of a small community. Between concrete and the sea.

There is a set of dichotomies at play in this work by Payal Kapadia that always make us see life from different perspectives. It doesn't seek to judge. It doesn't seek to indoctrinate. It seeks to show that we are all human, all full of desires, all with dreams, illusions, disappointments, and fears.

Between Prabha's story (Kani Kusruti) and Anu's story (Divya Prabha), don't ask me to choose. Both are fascinating. Both are fully realized characters. Neither of them has certainties, but both want something they don't have. Both Kusruti and Prabha are at a level of luxury, a level worthy of awards, where their performances make me want to revisit and rediscover micro-expressions, gestures, and attitudes. The dialogue between them is always delivered perfectly. They know each other, they know what to say, and even when they disagree, sometimes words aren't even needed. The feeling is always there and, oh boy, they made me feel!

Adding to the two stunning performances, we also have an excellent Chhaya Kadam as Parvaty, perfectly serving as the third element in this story, always with great importance from the perspective of social critique. Even minor roles, like Azees Nedumangad as Dr. Manoj, have their moment in the spotlight, such as in that powerful scene where he is willing to stay if there's a chance for him to find his "light."

Technically, Kapadia accomplishes things on par with the best that's ever been done in cinema. Relying on a mesmerizing cinematography -melding a dreamy, melancholic atmosphere -and a wonderful sound component that envelops us warmly, she is in control of every element from the very first scene, where she makes it clear that this is a film about people. And she portrays the people and that unique city, so full of dreams and illusions, that is Mumbai, so well. She surprises with several techniques - like when she "hides" the target of certain actions until the last moment. She incorporates, through her brilliant script, several humorous lines perfectly put on screen, and uses nature in a way that - yes, I'll be very basic in this comparison - reminds me of masters like Satyajit Ray in the way she films the sea, the trees, and all other living beings around us. We are all part of the same ecosystem. We are all part of this world and it can be beautiful in any place.

The way everything unfolds calmly, reflectively, with such strong yet never expository dialogue... all of this has a rare realism because it does this while entertaining, without ever being a boring film. There's always movement, always progression, always something more to be said and explored.

A masterpiece and my favourite of 2024.

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.

Themes of loneliness, longing (while living in a cosmopolitan city), and the outcome of gentrification are effectively tackled with three generations of women playing the leads. Beyond the performances and storytelling, I just want to appreciate what an audio-visual treat the film truly is. Mumbai monsoons in sync-sound is a different kind of ASMR, I'm guessing, at least for me. The film looks gorgeous and manages to do that effortlessly. The third act takes us out of Mumbai, into a coastal Konkan town, and here too, the visuals are incredibly enticing.

Kani Kusruti, Divya Prabha, and Chhaya Kadam slip into their respective roles with consummate ease (and possibly zero make-up). Their characterizations are splendid, and that absolutely comes across on screen. There is a fair amount of character progression (though everything concludes with acceptance); Topshe's score is often so subtle that background sounds sweetly overlap with it. Emahoy Tsegué-Maryam Guèbrou's piano compositions also underline some significant bits. Even the men (Hridhu Haroon, Azees Nedumangad, Anand Sami) have agency and make their presence felt.

P. S. I LOVED the pace at which things unfolded.

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.

A very highly praised film, all the hype around it since Cannes; Golden Globe nominations and several upset folks about how this should have sent over to the Oscars instead of Laapata Ladies as India's submission.

This film...had a lot of things going on. I don't remember the last time I saw a (semi) mainstream film portray what it's like to live in Mumbai so...palpably. Mast Mein Rehne Ka probably comes close. There's a lot of commentary from the POV of people who've moved there. Above all, this is a film about sisterhood (IMO) from the slice of life genre, about freedom, about closure and so on. To you, it could very well be a comforting movie.

All that said, this isn't for everyone. You're either going to think this is one of the best of 2024 or 'there's nothing special about it, what's with the hype?' It's a slow paced movie, very 'artsy' which focuses on the craft and if you don't get what they're trying to show, you won't get it. The purpose of this film isn't to entertain the masses.

This is totally not bad at all. Overrated? Depends on what sort of films you enjoy. Oscar-worthy? Probably not in my books. While I don't think Laapata Ladies had a chance, if it came down these two, LL would still have been my pick.

"All We Imagine as Light" beautifully captures the chaotic yet deeply emotional life of Mumbai. Through the eyes of three women, the film explores love, relationships, and resilience in a city that is both overwhelming and liberating. It doesn't follow a traditional story arc but offers a slice of life-raw, ongoing, and real.

Kani Kusruthi shines as Prabha, delivering a subtle, powerful performance, while the rest of the cast is equally authentic and memorable. The cinematography is breathtaking, showcasing Mumbai's contrasts-from its crowded streets to quiet, intimate moments. The use of color and light adds depth to the story, making every frame feel like a work of art.

The editing and pacing are masterful, allowing the film to flow naturally without unnecessary drama. Its simplicity is its strength, focusing on emotions and relationships rather than plot twists.

At its core, the film celebrates the strength and vulnerability of women, offering a heartfelt reflection on love and life. "All We Imagine as Light" is not just a movie-it's a quiet, moving experience that lingers with you long after the credits roll.

I came to this film with no preconceptions, as I hadn't known it would be part of an evening out. I wanted to like it and be absorbed in it, but I found it visually dull and lacking in plot, and wished I could go to sleep as one of my companions had. One had to work hard for very little reward. It was very slow, with frequent long gaps in the conversations. (I may have missed quite a lot as I'm not sure the subtitles caught the nuances of the multiple languages used.) The camera work was clumsy so the film was no great pleasure to look at. Thankfully the score was fairly minimal, though the decision to use piano recordings by Emahoy, an Ethiopian nun, was odd. The acting was OK, but it wasn't in the service of anything much. If the longueurs were cut it would run for about 20 minutes and be about as momentous as an episode of the much-lamented English soap opera 'Crossroads'.

I've given it a '2' rather than a '1' as there may well be significantly worse films out there, though happily I have yet to watch one.

All We Imagine as Light is a tale about three women at different junctures of their lives trying to find semblance in a fast-paced and impersonal city of Mumbai. The choice of the cinematography with raw, bluish undertone signals the harsh realities of their struggles. Younger Anu, a nurse, tries to clandestinely spend time with the lover and faces resistance even in the most impersonal city. Middle aged Prabha, who is also a nurse and lives with Anu, grapples with the realities of an estranged relationship while not giving in to the emotional advance made by a colleague. Parvaty, an aging cook at the hospital where Anu and Prabha work, tries to not get evicted by the real estate builder due to paucity of evidence of house ownership. The work gnaws at them while they make no progress on their path and at the end of the day wait for a fresh day. The slow burning film culminates in the act of letting go and in realisation that the light they imagined all this while was just around them and away from the busy buzzing streets of Mumbai! The casting is brilliant and has some of the best seen, natural acting on screen in Indian cinema. There is no unnecessary portrayal of emotions on the screen, but the film relies on the audience feeling the despair and succeeds in doing so. It may not be the finest film that bollywood has produced in recent times, but it is a fresh take against the drama-fuelled, fast-paced story telling.