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All We Imagine as Light’ Review: Payal Kapadia’s ode to city & outsiders.
Director Payal Kapadia, along with Kani Kusruti, Divya Prabha, and Chhaya Kadam, gives even banal scenes a lyrical quality in this homage to Mumbai, which received the Cannes Grand Prix in May 2024. In the latest news: All We Imagine as Light, this film stands out as a remarkable achievement.
The “spirit of Mumbai”—the city’s resilience after a major disaster—is always about the many.
This mentality probably encourages faceless commoners who cannot stay home safely to leave. All We Imagine as Light, Payal Kapadia’s first feature film, is making waves because it offers voice to the voiceless.
All We Imagine as Light OTT
Before focusing on the three protagonists, the film voices these multitudes. It captures all we imagine as light in the city.
These speakers’ reflections of the city’s meaning to workers from around the nation show Kapadia’s documentary roots.
The clan consists of two Malayali nurses, Prabha Kani Kusruti, and Anu Divya Prabha, as well as hospital worker Parvaty.
The video focuses on their desires, disappointments, confusions, and biases, not their jobs or daily struggles, reflecting the latest news.
Prabha is exhausted and anxious about her spouse who forgot about her after a few days in the city.
They last spoke a year ago when he relocated to Germany for employment. Her companion may be done chatting, she says.
Anu is excited at her city freedom and secret love for Shiaz (Hridhu Haroon). Prabha speaks up since Anu’s behavior bothers her due to her patriarchal upbringing. The latest news on her situation is constantly evolving.
The younger one is brave and independent, yet she is unsure of her future. Also, Parvaty risks eviction from her 20-year-old house. Without ownership documents, skyscraper builders can evict her easily.
These hardships unite the three women.
Support is the reason for the gathering, not insurrection (except throwing stones at the builder’s advertisement hoarding).
The film subsequently takes us to a beachfront Maharashtrian village of blinding brightness and soft peace from Mumbai nights of continual activity and quiet reflection of the protagonists in their separate places.
Prabha finishes a fantastic writing portion with a real-fictional incident. The director lets something flutter away like a kite in the wind in the last minutes. Minor dissatisfaction persists in the latest news.
Soft jazz sometimes gives the film a Mumbai vibe. The focus occasionally widens to catch the endless row of flats with dimly or brightly lighted windows, the ever-moving suburban trains, and the inhabitants, reminding us that these are the experiences of the three and many strangers here.
Kapadia turns the endlessly romanticized Mumbai rains into an uncomfortable hindrance to a love encounter, reflecting the latest news of the city.
All We Imagine as Light is a love letter to the city and its foreigners, who cannot live there but cannot leave either. The latest news captures their essence beautifully.
