The world of cinema is abuzz with the news of Payal Kapadia’s “All We Imagine As Light” making its way to the Cannes Film Festival 2024. It’s a notable moment, as it’s been 30 years since an Indian film vied for the prestigious Palme d’Or, the last being “Swaham” by Shaji N Karun in 1994.
The film, which Kapadia began writing in 2017, stands out for its storytelling — the lives of two nurses from Kerala working in a nursing home in Mumbai, each wrestling with personal and cultural dilemmas. This narrative showcases the intersection of their individual stories with broader societal themes, reflecting Kapadia’s keen eye for nuanced human experiences. Prabha and Anu’s story is one of personal struggle and societal expectations, as they navigate life beyond the confines of traditional roles. Prabha’s life takes an unexpected turn with a gift from her estranged husband, and Anu seeks moments of intimacy in a city that offers little privacy. A beach town trip presents an opportunity for them to break free, if only momentarily.
This isn’t just a film; it’s a testament to the strength and creativity Kapadia has shown throughout her life and career. The way it delves into personal stories against the broader societal canvas resonates with audiences far and wide, proving once again that film is a universal language.
This film marks Kapadia’s growth as a filmmaker, following her acclaimed documentary “A Night of Knowing Nothing,” which clinched the Golden Eye Award for Best Documentary at Cannes in 2021. The film, which poignantly captured the essence of youth and resistance, marked her as a director of great promise and sensitivity. Her journey with “All We Imagine As Light” began back in 2017, with her script getting a boost with the Hubert Bals Bright Futures Fund from the Rotterdam International Film Festival. This support is an acknowledgment of her potential and the film’s capacity to engage with audiences on deeply relevant issues.
As Kapadia continues her ascent in the film industry, her work remains a ray of hope for emerging filmmakers. She shows that with conviction and the right support, filmmakers can shine a light on stories that need to be told, influencing not just film enthusiasts but also the fabric of cinema itself. Her films, rooted in realism and imbued with poetry, have already begun to leave an indelible mark on the global stage.
The legacy of Indian cinema at Cannes runs deep. From Mrinal Sen’s “Kharij” in 1983 to classics like “Garm Hava” by M. S. Sathyu and “Parash Pathar” by Satyajit Ray, each film has left an indelible mark. Notably, “Neecha Nagar” stands tall as the only Indian film to clinch the coveted Grand Prix du Festival International du Film in 1946.
