“Mumbai is a contradiction,” stated filmmaker Payal Kapadia on the release day of her much-anticipated debut feature “All We Imagine as Light”. The film, which scripted history by clinching the Grand Prix at the Cannes Film Festival in May, has finally graced Indian screens. Contrary to what many might expect, the film did not make its domestic debut in Mumbai, where much of its narrative unfolds. Instead, it premiered in the distant city of Kochi under its Malayalam title “Prabhayay Ninachathellam”.
This offbeat release strategy has been steered by Spirit Media, helmed by the famed Telugu actor Rana Daggubati. His company secured the film’s Indian distribution rights following its triumphant run at Cannes. Beyond India, “All We Imagine as Light” is also set to enchant audiences in the US and France.
Fronted by the talents of Kani Kusruti and Divya Prabha, and aesthetically captured by cinematographer Ranabir Das, Kapadia’s film delves into the lives and longings of two Kerala nurses living in Mumbai. Remarkably, it is the first Indian film in three decades to vie for the Palme d’Or and the inaugural one to win the Grand Prix, the prestigious second-highest honor at Cannes.
The film’s international acclaim prompted congratulatory messages from high-profile personalities, including Prime Minister Narendra Modi and the Film and Television Institute of India (FTII), Kapadia’s alma mater. However, the jubilation was tinged with a critique of India’s support landscape for independent cinema. Many pointed out that while India is quick to celebrate cinematic feats at global forums, the infrastructure and backing for indie films remain inadequate. An example cited was the delay in the release of government rebates promised to international co-productions like Kapadia’s.
Kapadia remarked on the ongoing process regarding the rebate. She expressed optimism, saying, “It was still in process when I was hearing about it, but now I think it will be really soon.”
In an interview, Kapadia and Daggubati shed light on their collaboration. Daggubati revealed that his partner, Prateeksha Rao, discovered the film and was instrumental in bringing it to Spirit Media’s attention. They were captivated by the film’s unique blend of Indian craftsmanship and universal storytelling. He highlighted the film’s need for a distinct approach given its narrative intricacies and its divergence from mainstream cinematic archetypes.
Spirit Media’s mission is to amplify unique voices within the cinematic realm.
. Daggubati explained, “At Spirit Media, the idea is to find unique voices and make sure they are heard. We’ve always done it in Telugu as a regional set, because it was a smaller auditorium. But this is now a fun exercise for us to expand to other territories.”
Kapadia echoed his sentiments, emphasizing the challenges and the need for collaboration between mainstream and independent filmmakers. She lauded Spirit Media’s clear vision and their efforts to create a culture and ecosystem conducive to indie films in India.
Daggubati elaborated on their release strategy, explaining how the film’s limited run across various states aims to organically build a following. The film’s opening in Kochi was met with instantaneous success, with tickets selling out in mere minutes. Daggubati highlighted the significance of this, pointing out the robust appetite for independent cinema among the Kerala audience.
He also touched upon the broader issue of India’s fragmented cinematic ecosystem, noting the lack of platforms for indie filmmakers to showcase their work to distributors. Reflecting on their initiative, Daggubati said, “This is the first step where we moved out of our comfort zone from Telugu and said okay, let’s try to work cross country and create a plan. We have done it for commercial films, but this is the first time we’ve taken something indie. I’m sure this will bring in many, many more stories.”
Kapadia also discussed historical and systemic issues hampering indie cinema in India. She recalled a time when funds were more readily available to support independent films. Drawing comparisons with the West, she stressed the importance of robust systems, labs, and film markets that connect creators with potential investors and distributors.
Both Kapadia and Daggubati underscored the need for national platforms that foster cinematic unity and celebrate the diversity of Indian storytelling. Kapadia shared her experiences about Mumbai, its contradictions, and its draw as a land of opportunity, especially for women.
Daggubati concluded by reflecting on his own experiences in Mumbai and praising its dynamism and resilience. He expressed a fondness for the city despite its relentless pace.
“All We Imagine as Light” not only marks a significant achievement in Kapadia’s career but also represents a landmark moment for Indian independent cinema, with the promise of many more stories to come.
