Her film floors audiences worldwide, even if her home country dropped the ball

1

As a film enthusiast and someone who appreciates the journey of an artist, I find myself utterly captivated by Payal Kapadia’s story. Her journey from discussing her film’s layers and contexts with her mother over many years to seeing it come together on the big screen at Cannes is nothing short of inspiring.

Have you ever watched a movie and been so enveloped by its world that you wanted to live in it?

As a teenage spectator, Indian filmmaker Payal Kapadia was deeply captivated by the ethereal and yearning atmosphere of Wong Kar-wai’s “Chungking Express.” This enchantment was so profound that she felt an impulse to immediately board a plane to Hong Kong, where she could immerse herself in getting lost amidst the city’s glowing neon streets.

Kapadia expressed a strong interest in that movie, stating, “I was deeply engrossed in the film.” Later on, when she eventually visited the city, her first stop was Hong Kong Mansions, the extensive commercial and dining complex that played a significant role in Wong’s production.

And, of course, it underwhelmed.

Kapadia chuckles and explains, “Given the circumstances, it couldn’t have been anything else! It was heavily influenced by Wong Kar-wai. It also got me pondering about personal perspectives and the emotions that can be subtly woven into a film’s atmosphere to make it even more enchanting.

Kapadia utilized the lesson she grasped at the Film & Television Institute of India, combined with the skills she honed through creating two short films and her critically acclaimed 2021 documentary “A Night of Knowing Nothing,” and channeled it all into her captivating first full-length film, “All We Imagine as Light,” which will be premiering this Friday at the Laemmle Royal.

The film beautifully captures the gritty reality and unpredictable rhythm of Mumbai, portraying its bustling daytime scenes and eerily quiet, rain-drenched nights. It primarily revolves around the bond between three female characters: Prabha (Kani Kusruti), a serious nurse, Anu (Divya Prabha), her youthful roommate, and Parvaty (Chhaya Kadam), a widow, activist who was evicted from her residence by real estate developers.

There are male characters as well, but their situations are intricate. Prabha’s spouse, who married her through an arranged union and works in Germany, may not be able to return; Anu has a devoted partner named Shiaz (Hridhu Haroon), but due to societal pressures, they need to hide their relationship because he is Muslim and she is Hindu.

As a captivated spectator, I can’t help but express my admiration for the heartrending authenticity portrayed in “All We Imagine as Light”. This masterpiece skillfully weaves the complexities of individual lives into a broader political tapestry, making the personal profoundly political. Remarkably, it was the first Indian feature film in almost three decades to be invited to compete at Cannes, and it did not disappoint; it took home the prestigious Grand Prix prize upon its premiere in May. A breathtaking, compassionate depiction of a city and its inhabitants, it more than deserves the recognition bestowed upon it. After witnessing it, I find myself yearning to visit Mumbai.

On a cozy October Sunday, I find myself basking in the California sunshine of Los Angeles, fresh from my journey up north in San Francisco. Perched on the patio of an elegant Beverly Hills hotel eatery, I’m strategically avoiding the rays of the sun. A gracious waiter has just extended an invitation for us to indulge in endless mimosas.

Kapadia remarks with a smile, “That seems quite typical of L.A.,” referring to something she’s heard. She politely declines for now as she has a few events connected to her film later on. However, she doesn’t refuse the caviar placed on a mini pancake. She explains, “One doesn’t turn down caviar,” and mentions that it’s her initial encounter with this delicacy.

She’s sampling caviar, wondering what this life is all about. A kid nearby looks on curiously. ‘It’s quite salty,’ she says, ‘but honestly, it’s not my cup of tea.’ Yet, we both concur that the mini pancake was scrumptious.

38-year-old Kapadia marvels at this nation, finding it both puzzling yet fascinating. He’s captivated by its vastness and the widespread joy he encounters. However, his observations are based on visits to liberal cities in America, which leads him to believe that it’s a land where people feel free to express themselves. His thoughts are, “America is incredibly accepting,” but he acknowledges that the same can be said for India, where diverse Indias exist just as there are multiple Americas.

Nalini Malani, Kapadia’s mother, is a renowned video artist. As a child, Kapadia would watch her mom create films, finding joy as she learned the significance of each edit, feeling privy to a secret that few others grasped. During high school, Kapadia stumbled upon a film club initiated by her chemistry teacher, which showcased movies from directors like Werner Herzog, Andrei Tarkovsky, and Satyajit Ray. By the time she entered college, Kapadia had become an avid attendee of experimental, documentary, and international film festivals in Mumbai.

As a woman with a passion for movies, I’ve been incredibly fortunate to have a family who’s always encouraged me. In many cases, people in my country might wonder why a daughter would seek higher education, let alone pursue a creative field like filmmaking. Often, resources were limited enough that only sons could afford college. Yet, here I am, making films, which is no easy feat. I consider myself incredibly privileged to have the opportunity to do so.

Each year, India’s Film & Television Institute admits only ten individuals per discipline, making it quite difficult to gain admission to this publicly funded institution. Kapadia was successful on her second attempt and, upon graduating in 2018, she secured a residency to initiate the writing of “All We Imagine as Light.” At the same time, she also completed “A Night of Knowing Nothing,” a surreal account chronicling student protests against the Hindu nationalist administration led by Indian prime minister Narendra Modi.

Kapadia interprets “All We Imagine as Light” as having political undertones, yet it refrains from being overtly instructional. In the beginning of the movie, a character mentions living in Mumbai for 23 years and still not feeling comfortable enough to consider it their home.

According to Kapadia, Mumbai is a city that’s constantly changing – its very layout has been shaped by historical events. Initially, it was just a collection of seven islands connected by the British East India Company for trading purposes, as they had lost their port in Surat. This colonial past has significantly influenced the city’s development, and it continues to evolve today. Developers are rapidly taking over areas where people have long resided. While some women move there seeking greater freedom, there’s also a sense of instability due to these ongoing changes.

As a film enthusiast, I felt a sense of unease permeating through the movie, mirroring Anu’s own struggles with her relationship with Shiaz. This tension stems from their contrasting religious beliefs, which creates uncertainty about their future together. However, Director Kapadia skillfully inserts a heartfelt love scene between them, a moment that for me, symbolizes not just the romance and yearnings of these characters, but also their longing for freedom.

Kapadia completed filming “All We Imagine as Light” in November, and due to its French financing, she moved to Paris to collaborate with a French team for post-production. They were deep into the process when Cannes Festival chose the movie for competition. Before the festival began, she worked tirelessly for 18 hours each day in her pajamas, frequently smoking cigarettes.

Speaking over the phone, Ranabir Das, the cinematographer for the movie, expressed that it was incredibly intense. “As days grew longer,” he explained, “we started to lose our bearings, which made us unsure if the movie had been fully filmed or if the editing was correct. It became challenging because we were relying solely on instinct during the creative process.

Kapadia delivers a more straightforward evaluation. “When I submitted it, I was thinking, ‘I have no idea what this is or what I’ve accomplished.’ Laughing, she recalls her initial fear.

A week after the premiere, Kapadia’s movie was screened at Cannes. She, along with the actors and crew, were all present in the theater. According to her, she watched the entire screening with one eye closed. When it concluded, the audience leaped up to applaud – and continued to do so. A person within the theater managed to snap a photo of Kapadia, first showing a shy smile and then bursting with relief. Following the screening, everyone moved to a nearby bar where they danced, celebrated, and enjoyed kabobs. Even Kapadia’s mother was there, sharing in her daughter’s happiness.

What did she think?

Kapadia mentions that she informed him she had to rewatch it, after which she went back the following day, showing her strong appreciation for it. Over numerous years, they talked about this movie, its intricacies and contexts extensively. Her joy was palpable when she realized that all the hard work had finally paid off, despite the various challenges along the way.

Originally considered for the Oscars’ international feature category, “All We Imagine as Light” was not chosen to represent France; instead, they opted for Jacques Audiard’s “Emilia Pérez.” Similarly, India selected “Laapataa Ladies,” leaving Kapadia’s film out — at least in the international category. However, it’s important to note that a film like “Anatomy of a Fall” received nominations for both picture and original screenplay last year despite being passed over by France, suggesting that the Oscar chances for Kapadia’s movie are not yet closed.

During our conversation, Kapadia was preoccupied neither with what you mentioned nor with trivial matters. Instead, her thoughts were centered on the upcoming premiere of her movie at the MAMI Mumbai Film Festival and planning her next project, which delves into the delicate essence of urban existence, much like she did in “All We Imagine as Light.” She has a few ideas brewing and is eager to find some peace soon and concentrate fully on them.

Currently, I find it difficult to focus on anything else apart from the large, radiant gold butterfly dancing above our table.

“Yeah, it’s hard to ignore it,” Kapadia says. “Even the butterflies are bigger here.”

The server presents the bill. Meanwhile, a nearby dog persistently barks, clearly upset because its owner is engrossed in the brunch buffet.

Kapadia expresses that all of this is pleasant, but she’s eager to return to her job. She finds fulfillment in her work. The years spent creating this film were demanding, yet they ignited a desire within her to work even harder. It’s what makes her happiest.

Read More

• SOL PREDICTION. SOL cryptocurrency
• LDO PREDICTION. LDO cryptocurrency
• ONDO PREDICTION. ONDO cryptocurrency
• XAI PREDICTION. XAI cryptocurrency
• Top gainers and losers
• APT PREDICTION. APT cryptocurrency
• JPY KRW PREDICTION
• OMNI PREDICTION. OMNI cryptocurrency
• BTC PREDICTION. BTC cryptocurrency
• ETH PREDICTION. ETH cryptocurrency

2024-11-12 14:33