‘All We Imagine As Light’ Review: Payal Kapadia’s Poetic Meditation On Life In Urban Mumbai – Cannes Film Festival
25.05.2024 - 10:27
/ deadline.com
Of the many films set in India that premiered at this year’s Cannes Film Festival, Payal Kapadia’s feature debut is the only one to focus on the country and its character, which it does by focusing on its most populated city, Mumbai. Like London, Paris and New York, Mumbai is a city of contrasts, a melting pot of castes and races, but of its 12.5 million citizens, over half are likely to live in extreme poverty. All We Imagine as Light tells the stories of the people on the breadline, those who are just about getting by, trying to hold onto their homes and their dignity as the city’s wealthy elite buy up and bulldoze their properties.
Kapadia’s documentary background is clear from the outset, a series of tracking shots through a bustling city market. All the workers are migrants, from villages far and wide, and while their weathered faces pass by, we hear their (real and clearly unscripted) thoughts. “I didn’t realize so much time had passed. The city takes time away from you,” says one. Another warns, “You have to get used to the impermanence.” A little later, Mumbai will be declared “the city of illusion”, where “you have to believe the illusion, or you’ll go mad.”
This intriguing prelude gives way to a busy hospital, where nurse Prabha (Kani Kusruti) works, alongside her flatmate Anu (Divya Prabha). The two women are both Hindi but very different; Anu bores easily, never pays her rent on time, and has a reputation for immodesty, having been spotted consorting with a strange man who appears to be her boyfriend. Prabha, however, is the more sensible of the two, which is why the hospital’s widowed cook, Parvaty (Chhaya Kadam) goes to her for advice after the bailiffs come round, trying to force her out of her home to