When the “spirit of Mumbai” is spoken about, it typically refers to the city’s imagined resilience, especially in the face of significant calamities. This concept often conjures images of faceless, industrious citizens who, despite their struggles, continue to venture out into the world, embodying this spirit. However, Payal Kapadia’s debut feature, “All We Imagine as Light,” challenges these common assumptions. Rather than portraying the less privileged as mere background characters in the city’s grand narrative, Kapadia brings them to the forefront, giving them a voice and highlighting their personal stories.
The film opens with a mosaic of voices, reminiscent of Kapadia’s documentary filmmaking roots. These voices represent the myriad individuals who migrate to Mumbai from across India, seeking a better life. Among them are the Malayali nurses Prabha (played by Kani Kusruti) and Anu (portrayed by Divya Prabha), as well as Parvaty (Chhaya Kadam), an employee at the hospital where the nurses work. They are emblematic of the diverse populace that constitutes Mumbai.
However, “All We Imagine as Light” does not focus solely on the professional lives or daily struggles of these women. Instead, the film delves into their inner worlds, shedding light on their desires, disappointments, confusions, and even biases. Prabha, for instance, exudes a weariness borne from her time in the city, coupled with the distressing reality of a husband who has seemingly forgotten about her since their marriage. Their last conversation occurred a year ago after he left for a job in Germany, leaving her to speculate about his silence.
In sharp contrast to Prabha’s somber demeanor is Anu, who is brimming with the excitement of newfound freedom in the city and her secret romantic entanglement with Shiaz (Hridhu Haroon). Anu’s liberated behavior, which often clashes with Prabha’s ingrained patriarchal values, causes friction between the two. Anu, resolute and daring, continuously pushes boundaries yet remains conflicted about her future. Parvaty, meanwhile, faces the daunting threat of eviction from her home of over two decades, a common plight faced by many in the shadows of Mumbai’s ever-expanding skyline.
. Without legal proof of ownership, she is vulnerable to displacement by developers.
Despite their individual adversities, these three women find a common thread that unites them. Their camaraderie is not catalyzed by grand acts of defiance, but rather through the simple act of being there for one another. A poignant scene where they throw stones at a builder’s advertisement hoarding is one of the few moments that could be considered rebellious. The film beautifully captures both the ceaseless activity of Mumbai nights and the quiet introspections of its protagonists in their private moments. Midway, it transitions to a serene Maharashtrian seaside village, drenched in sunlight, where Prabha experiences a sense of closure in a scene that gracefully straddles the line between reality and imagination. Yet, the ending leaves a gentle sense of longing, as if the filmmaker intentionally holds back, allowing the narrative to drift away like a kite in the wind.
At times, the film emanates the ambiance of a Mumbai mood piece, complemented by a subtle jazz score. The camera occasionally pans out to capture the endless rows of flats, their windows aglow with life, and the unstoppable suburban trains teeming with people. These visuals serve as reminders that the stories of Prabha, Anu, and Parvaty are reflective of countless others who call this city home, yet feel perpetually on the outside.
Kapadia masterfully infuses a lyrical quality into even the most mundane moments. Her depiction of the Mumbai rains, often romanticized in cinema, is subverted here, turning into an obstacle for a romantic encounter. “All We Imagine as Light” serves as an ode not just to Mumbai but to its outsiders—those who, despite not being able to fully call the city home, find themselves unable to leave its embrace.
“All We Imagine as Light” is currently screening in select theaters in Kerala. For those looking to witness a nuanced portrayal of Mumbai and its multifaceted inhabitants, Kapadia’s film is a must-watch. The film was published on September 27, 2024, at 04:36 pm IST and continues to receive acclaim for its delicate yet profound storytelling.
