All We Imagine as Light

All we imagine as light

A vivid portrayal of raw women emotions in deep layers through a realistic trace.

The movie dealts with the emotional and social life of 3 women who are cordially connected towards each other. Payal has shown the hardships,insecurities,feelings and hopes of the women on the backdrop of fast moving Bombay - The city of dreams.

Payal through her screenplay has shown the nuances of feelings in womanhood across varying age groups using the day and night visual narrative template. The first half moved steadily with interesting developments whereas the latter half paced gradually, at some points leaving the audience disheartened leading to a sudden closure.

Impressive performances by Kani Kusruthi,Divya Prabhakar & Chhaya Khadam with their district and standout portrayals of their character shades. Hridhu Haroon and Azees Nedumangad has done their part to satisfaction.

The hands of Ranabir Das behind the camera has beautifully shown the Bombay city in its true colours.

A small good movie highlighting the inner emotions of women backed with solid performances.

Rating - 3.5/5.

I really wanted to like this film after hearing so many positive reviews however it falls short of a masterpiece for me and is just another forgettable film that does nothing spectacular.

The film is about a Malayali nurse working in Bombay who lives away from her husband, she shares a room with another nurse who has a lover and they both find it hard to find a place. Third story is about an old woman being driven out of the house she lives in.

To my dismay the film gives in too much to the cliched tropes to the point of being downright predictable and boring. The protagonist is longing for a connection albeit she guards herself against it, at many points she is the super ego of the film shutting down the despairing cries of others with dictums yet by the end trying to imagine light in the darkness of her loneliness.

In that sense, her roommate is her antithesis, she has no inhibitions, she is in love with a Muslim boy and they are looking for a place to make love.

Recognize the beaten path of a storyline of a subdued woman, she is shown to be too righteous, almost like a nun, as a matter of fact the background score of the film is taken from a piece composed by an Ethiopian nun. In many ways it reminded me of Ishiguro's "Remains of the day". The story of the roommate and her lover really didn't add that much to the story other than working as a filler for sex, I'm personally not a big fan of misplaced nudity and sex in films, it's exploitative in nature and does little to carry the story.

The story about the old lady started off as a social commentary on class, and the hidden rules of society, at one point she questions whether she should confront the reality of her existence or get indulged in the illusion like everyone else. She ends up leaving the city for her hometown. This story goes nowhere and thus it felt underwhelming.

All in all, the film doesn't say anything new, it does not punch you in the gut like Salaam Bombay, it doesn't make you somber like The Lunchbox however one cannot help but admire Payal Kapadia's craft, I have seen numerous films on Bombay but nothing captures it like the film does but it felt like - specially in the second half of the film - that she was trying very hard to make each story reconcile and come to closure.

By no means I'm calling this a bad film, it's crafty and well made but fails to say anything that has not been said before through film.

Quiet and fragile, 'All We Imagine as Light' delicately unfolds life in Mumbai, capturing the solitude of its protagonists in a city full of movement. The film beautifully juxtaposes the stillness of personal struggles against the relentless pace of urban life, creating an intimate yet universal portrait of longing and resilience. However, while the storytelling is subtle and poetic, it lacks a true climax, leaving certain narrative threads unresolved. Despite this, the film's delicate atmosphere, compelling performances, and evocative cinematography make it a poignant, meditative experience that lingers beyond the screen.

The dreamy score that meanders throughout this freewheeling film, played on sombre images that evoke nostalgic despair, is a pleasure to watch. I was more fascinated by the makers' attention to detail in carving out a Bombay that goes against the popular image and instead shows you its cloying nature. Three women find it difficult to navigate their lonely lives in the city as the camera follows them in public places and into their privacy. I was able to relate to the characters, having lived in Bombay for decades, but the film does go a bit haywire towards the end, and you could blame it on me I lost track there. Overall, a good experience, thanks to the soundtrack and good use of textual design (especially the red font).

(Watched at its Bombay premiere at the 2024 MAMI Mumbai Film Festival.)

I have a profound appreciation for directors who possess this inherent ability to extract moments of intrigue from the monotonous aspects of life.

These filmmakers can illuminate even the most repetitive daily activities in a fresh manner, all while weaving narratives that delve deeper into complexities of human psychology and interpersonal relationships.

Payal Kapadia is one amongst them.

Her exploration of a wife's tiring loneliness, a young woman's sexual desires, and an elderly woman's struggle to leave her beloved home presents three women in circumstances that test their morals, challenge their upbringing, and, most importantly, confront their flawed perspectives.

While I admire Kapadia's narrative prowess, it is evident that the themes she addresses lack sufficient depth for development. The notable absence of conflict restricts the potential for these stories to evolve into something more substantive.

Not suggesting they didn't bear any fruits, but looking at the subjects being discussed, I had hoped for better.