“Mumbai is a contradiction,” asserts Payal Kapadia, on the release day of her luminous and empathetic feature debut, “All We Imagine as Light.” Kapadia’s debut not only scripted history by winning the Grand Prix at the renowned Cannes Film Festival in May but has also captivated audiences as it opens domestically. In a fascinating turn, the film, predominantly set in Mumbai, has premiered in Kochi, far from its primary setting. The Malayalam version, “Prabhayay Ninachathellam,” found its audience in Kerala first. Despite its accolades at Cannes, “All We Imagine as Light” narrowly missed becoming India’s official entry to the Oscars, losing the spot to Kiran Rao’s “Laapataa Ladies.”
The unique release strategy of “All We Imagine as Light,” which focuses on center-wise launches, is orchestrated by Spirit Media, a production and distribution house led by Telugu star Rana Daggubati. Spirit Media adopted the India distribution rights in the wake of the film’s Cannes triumph and is also rolling it out in the US and France.
Fronted by Kani Kusruti and Divya Prabha, and vividly captured by cinematographer Ranabir Das, Kapadia’s film explores the friendship and desires of two Kerala nurses living in Mumbai. Remarkably, it is the first Indian film in three decades to contest for the Palme d’Or and the first to clinch the Grand Prix, the second-highest honor at Cannes.
Prime Minister Narendra Modi and the Film and Television Institute of India (FTII), where Kapadia studied, were quick to congratulate the filmmaker. However, the discussion back home has been fervent, highlighting the inconsistencies between the country’s pride in such cinematic achievements and the lack of support and infrastructure for independent films. A significant point of contention was the government’s delay in releasing the rebate promised to international co-productions like Kapadia’s film.
When asked about the rebate status, Kapadia remarked, “It was still in process when I was hearing about it, but now I think it will be really soon.”
In an interview with The Hindu, both Kapadia and Daggubati shared their insights and experiences surrounding the film’s release strategy. Daggubati mentioned, “A partner of mine at the company, Prateeksha Rao, was the first to understand the film’s depth. She recommended it to us, and we were blown away by its unique craft. It’s so lovely and Indian. The film is about Malayalis living in Bombay and the culture there. It needed a different approach from the usual cinema seen in theaters.”
Spirit Media aims to bring unique voices to the forefront, especially within the regional Telugu cinema, before expanding its reach.
. “This is a fun exercise for us,” Daggubati adds. Kapadia also expressed her appreciation for Spirit Media’s vision: “It’s not easy what they are doing – there hasn’t been much distribution of independent cinema in India, especially theatrically. Collaborations like these help build an ecosystem for independent titles.”
The film’s release strategy includes ensuring it has a limited run in every significant film-watching community or industry. Daggubati explained, “In Kochi, the opening day shows filled up in just two minutes on BookMyShow. That’s independent cinema and the Kerala audience for you.” He also lamented that it took international festival circuits like Cannes and Toronto for them to learn about such films. “In the Telugu industry, independent filmmakers at least have a few preview theaters to show their work to distributors, a space that many parts of India lack.”
Both Kapadia and Daggubati also shed light on the history and challenges independent cinema faces in India. Kapadia recalled, “Earlier, there were funds supporting independent films in India, which have dwindled now. Access to both government and private funding systems is essential, akin to what exists in the West.”
Daggubati expanded on this need, “Global festivals were initially created for tourism, bringing people from across the world together. In India, apart from the National Awards, we lack a unifying platform. We need grants for major awards and to create an ecosystem that supports such films. With the success of films like ‘Baahubali,’ ‘RRR,’ and ‘KGF,’ we’re beginning to speak one cinematic language as a nation. Independent cinema will find its place in due time.”
Both artists also reflected on their experiences in Mumbai. Kapadia views Mumbai as a city of opportunities yet filled with daily struggles, while Daggubati sees it as a land of extreme energy and opportunity, despite its challenges.
As the film continues to release in various states and gain international praise, the collaboration between mainstream and indie cinema through Spirit Media and the growing dialogue around independent films’ infrastructure in India herald a promising future for unique and empathetic storytelling in the country.
