Set in Mumbai and in an Indian seaside village, All We Imagine as Light is an empathetic, slice of life film that focuses on the fate of three women. Foremost amongst them is Prabha (Kani Kusruti), a dedicated and highly regarded nurse at a Mumbai hospital, who is largely introspective. She is in an arranged marriage and her husband works in Germany. She hasn’t heard from him for over a year … and it is highly unlikely she will ever hear from him again. Nevertheless, she politely and respectfully declines overtures from Dr Manoj (Azees Nedumangad), who has worked at the hospital for a few months.
Anu (Divya Prabha) is a young nurse who lives and works with Prabha. She has a secret Muslim boyfriend, Shiaz (Hridhu Haroon), whom she is desperate to find some alone time with, so the pair can be intimate. She doesn’t want to go down the same route as Prabha and yet Anu’s parents, who wouldn’t countenance Shiaz, are sending her photos of eligible men.
And then there is Parvaty (Chhaya Kadam), who also works at the hospital. She is being turfed out of the apartment where she has lived for 22 years. Her husband died and didn’t give her the documentation that would have seen her retain ownership of the property. Instead, developers are moving her on. She is left with no choice other than to return to her home village by the sea. Prabha and Anu help her with her belongings.
There is a lyrical or poetic quality that writer and director Payal Kapadia has imbued into All We Imagine as Light. She is a rich and redolent storyteller. The story is told from a female perspective and the impression one gains is that tradition and the patriarchy still very much hold the upper hand. She has composed the picture to ensure that we care about each of the characters and want the best for them. Mumbai is, in effect, another pivotal persona in the film. Evocative cinematography by Ranabir Das well captures the hustle and bustle … the excitement of the city that never sleeps. People gravitate to Mumbai, but however long they remain there, the question is can they ever call it home?
The performances are naturalistic, particularly that of Kani Kusruti as Prabha, about whom there is an intensity, a disappointment and a sadness. Her eyes speak volumes. There is more of a rebellious streak in Anu, who wants to turn tail on the old ways of thinking. Her desire to do her own thing is well captured by Divya Prabha. Frustration is the key ingredient that Chhaya Kadam brings to Parvaty, who falls foul of the system. Not for naught did All We Imagine as Light – which captures the essence of city and village life – win the Grand Prix at the 2024 Cannes Film Festival.
Alex First
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Alex First is a Melbourne based journalist and communications specialist. He contributes to The Blurb on film and theatre.
