Amidst the hustle and preparation for her upcoming trip to Kerala, Kani Kusruti received news that left her reeling with excitement yet feeling under the weather. It was the announcement that had cinephiles across the nation buzzing with anticipation: Payal Kapadia’s “All We Imagine as Light” had been selected to compete at the illustrious Cannes Film Festival. This would be the first time in 30 years that an Indian production would contend for the much-coveted Palme d’Or, an announcement that was met with fervent admiration from supporters of Indian cinema.
Among the roster of esteemed films at Cannes—including Francis Ford Coppola’s “Megapolis” and Yorgos Lanthimos’ “Kinds of Kindness”—Kani’s film stands tall. The 77th edition of the festival no doubt promises to be an extraordinary event with Greta Gerwig helming the main jury, taking place on the stunning French Riviera from May 14 to 25.
Santosh, another film with Indian origins directed by British-Indian Sandhya Suri, will also make its mark at the festival by competing in the Un Certain Regard sidebar, showcasing the diverse talent breeding within the Indian film industry.
Kusruti, reflecting on the initial influx of congratulatory messages, revealed her homely state in Goa, caught between the exhaustion of packing for a Kerala shoot and fighting off a mild sickness. This minor setback did not dampen the significance of the moment, as “All We Imagine as Light” marks a monumental occasion for the Indian film community. It follows a path illuminated by Indian successes at Cannes with recent movies like “Masaan” and “All That Breathes” garnering international acclaim, yet the nation has seldom basked in the limelight of the main competition.
The echoes of history accompany this achievement, as the only Indian film to ever hoist the Palme d’Or — then known as the Grand Prix du Festival International du Film — was Chetan Anand’s “Neecha Nagar” in 1946. Ambitious Indian auteurs like Satyajit Ray and Mrinal Sen had their works sporadically nominated, with Sen’s “Kharij” seizing the Jury Prize in 1982. The last Indian contender for the Palme d’Or was Shaji N Karun’s “Swaham” in 1994.
Now, “All We Imagine as Light” weaves a narrative intimately linked to Kusruti’s roots, as it centers around two Kerala nurses working in Mumbai. These lead roles are portrayed by Kusruti herself and actress Divya Prabha, bringing shared cultural authenticity to the screen.
Kusruti mused upon cinema’s transcending nature, recalling the impact of watching “Swaham” as a child, inspired by her parents’ passion for films. The connection came full circle as she later collaborated with the legendary Karun in the film “Oolu.”
In “All We Imagine as Light,” Kusruti assumes the role of Prabha, a head nurse navigating life estranged from her husband, while Anu, her younger roommate and fellow nurse, seeks a semblance of privacy amidst the urban sprawl of Mumbai. A pivotal moment emerges as the pair embark on a road journey to a coastal town, delving into a mystical forest that unfurls as a canvas for their aspirations and reveries.
The brilliance of Kapadia’s previous works such as “A Night of Knowing Nothing,” which clinched the Golden Eye at Cannes, and her student short “Afternoon Clouds,” cannot be overstated. Kusruti’s role as Prabha originated from an unexpected shift, initially having been approached for the part of the younger nurse, only to later embody the persona of the experienced Prabha, a character strung between the pursuit of personal desires and societal conventions.
The production of “All We Imagine as Light” was met with its own dichotomy of environments, with the first half being shot amid the densely populated throng of Mumbai during the monsoons, followed by the serene landscapes of Ratnagiri for the second half.
Despite often shying away from the limelight of glamorous events, for Kusruti, who has an impressive portfolio in both the independent film circuit and streaming platforms, the premiere at Cannes bears an extraordinary weight. Whether her schedule permits attendance at the festival or not, the spirit embedded in the collaborative process of filmmaking triumphs above all.
As the Indian delegation readies to showcase their cinematic art on a global stage, “All We Imagine as Light” not only exemplifies the richness of regional storytelling but also signals the dawn of a vibrant era for Indian cinema at the world’s most prestigious film festival.
