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Review: In ‘All We Imagine as Light,’ the big-city blues yield to a sublime sisterhood

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Review: In 'All We Imagine as Light,' the big-city blues yield to a sublime sisterhood

As a movie connoisseur with a soft spot for films that delve into the intricacies of human emotions, “All We Imagine as Light” left me utterly captivated. Born and bred in the bustling metropolis that is New York City, I’ve seen my fair share of films set in densely populated urban landscapes. Yet, Payal Kapadia’s debut drama managed to transport me to the heart of Mumbai in a way few have before.

Life often falls short of expectations and, predictably, the same can happen with films. However, there’s something extraordinary about a movie that dares to reflect the shared sense of heartache and disappointments in life. Characters may ponder questions like: “Why doesn’t my partner want to be with me?”, “Where can I go with my girlfriend without being criticized?”, or “Can’t I just be alone in my home?”. By portraying these struggles, a channel of understanding and compassion is forged.

In a more simplified and natural manner, one could say: “The thought-provoking masterpiece, ‘All We Imagine as Light,’ doesn’t explicitly ask these questions but instead subtly poses them while creating a lavish, hypnotic sense of aimlessness. The creator behind this work, Payal Kapadia, is from Mumbai and chooses to set her initial drama in the city, not the chaotic slums depicted in ‘Slumdog Millionaire’ or ‘Monkey Man,’ but a rain-soaked metropolis defined by the anonymity of large crowds and confined spaces.

In this setting, we encounter Prabha (played by Kani Kusruti), a middle-aged nurse who commutes to a hospital every day. Her somewhat stern demeanor finds meaning amidst the elderly and unwell patients there. Fortunately, she shares a home with Anu (Divya Prabha), a friend who sometimes struggles to pay rent on time. One day, Anu brings home a pregnant stray cat, adding another life in need of care to their household. The absence of Prabha’s husband, who has been working overseas for years and seldom communicates, leaves an empty space in their lives. There are occasional disagreements between the two women, yet they eventually find a way to forgive each other shyly. Anu is secretive about her relationship with Shiaz (Hridu Haroon), a Muslim man who brings her joy, as she must hide it from her traditional family and others.

Don’t mistake Kapadia’s tone for downbeat, though. There’s something sophisticated at work here, both pragmatic and playful. (She’s spoken of a love for the films of Hong Kong’s Wong Kar-wai and clearly knows them well, as does Ranabir Das, her cinematographer.) That seesawing piano riff on the soundtrack could be rain droplets or an improvisatory theme for a couple lolling around an open-air market trying on sunglasses. A mysterious box arrives from Germany containing a rice cooker but no note. What could it mean? A train cruises by their window at night like a caterpillar, the yellow windows of separate lives in other buildings illuminating its way. Meanwhile, Prabha’s widow friend Parvati (Chhaya Kadam), a cook at the hospital, faces eviction, but handles the news with remarkable pluck, flinging rocks at the property developer’s signage.

In a surprising turn of events, the film “All We Imagine as Light” failed to be chosen by India’s selection committee to represent the country at the Academy Awards. This oversight is worth mentioning, not due to matters of taste, as committees sometimes make mistakes, but because it raises concerns about something more subtle. The president of the decision-making body stated, “The jury felt they were watching a European film set in India, rather than an Indian film set in India.

Is it not enough that women’s dissatisfaction is not quintessentially Indian? (After all, Hollywood struggles with this issue as well.) The struggle of Kapadia’s Oscar bid should merely serve as a small part in the broader discussion about the movie, a film lauded at Cannes. Ideally, its triumph will be a sufficient response.

However, Kapadia’s actions in this scene hold a political undertone, which becomes evident around the midpoint. At this juncture, the film breaks free from its boundaries, mirroring the liberation of the women. The character Parvati returns to her childhood village by the palm-lined beach, accompanied by Prabha, Anu, and later Shiaz with their belongings. This trio’s unity amplifies the movie, propelling it into unexpected, almost surreal territories. A romantic sequence in a cave straddles the line between mythical enigma and immediate sensuality, a nuanced moment that Roberto Rossellini of “Voyage to Italy” might have admired.

It’s a pity to deny viewers the chance to witness Kapadia transform her movie into something completely fresh. It feels like she’s confronted with a significant decision: to portray women in all their complexities, flawed and forsaken? Or to offer them a means of escape? In typical fashion for a director who appears destined for greatness, her solution is straightforward. We need both aspects in the film.

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2024-11-15 20:31

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