Amidst the tumult of Mumbai’s incessant traffic, humid atmosphere, and vibrant energy, three richly complex women are at the core of Payal Kapadia’s *All We Imagine As Light*. Penned and helmed by the director known for *A Night of Knowing Nothing*, this signifies Kapadia’s inaugural venture into fiction features. The film serves as both a homage to contemporary womanhood and an affectionate tribute to the lively, ever-evolving city of Mumbai.
Showcasing compelling and layered performances by Kani Kusruti (*Girls Will Be Girls*), Divya Prabha (*Ariyippu*), and Chhaya Kadam (*Sister Midnight*), this Cannes Grand Prix award-winning film explores the varied experiences of women living in India’s most populous metropolis — a setting where many actively contest societal conventions. With a driving synth-infused score by Dhritiman Das and breathtaking cinematography by his sibling Ranabir, Mumbai emerges as a dynamic character within the film, perpetually transforming and adapting.
### What is *All We Imagine As Light* about?
The film intricately intertwines the narratives of three women employed at a multi-specialty hospital in Mumbai, providing a nuanced depiction of both its central characters and the city they call home.
Prabha (Kusruti), a senior nurse, struggles with guilt over her feelings for a colleague while dealing with the emotional detachment of a long-distance marriage. Anu (Prabha), her younger roommate, is ensnared in a clandestine romance with Shiaz (*Crash Course*’s Hridhu Haroon), a relationship they must keep hidden due to religious and societal constraints. Meanwhile, Parvaty (Kadam), the eldest of the group, faces the threat of eviction as Mumbai’s affluent developers aim to displace her, leaving her without a claim to her residence due to a lack of official documentation.
As their lives take unforeseen directions, the three women embark on a trip to Parvaty’s coastal hometown in Ratnagiri. In that locale, they discover a temporary reprieve from the city’s demands, unveiling repressed desires, memories, and new insights.
### The three leads shine in *All We Imagine As Light*
The emotional essence of the film is encapsulated in its three leads, each representing a unique aspect of womanhood in Mumbai. Despite their connections, a deep sense of isolation runs through their lives. Some, like Anu, embrace the city’s anonymity for comfort, while others, like Parvaty, are overwhelmed by its indifference. Together, the trio breathes life into Kapadia’s beautifully constructed screenplay, capturing the poignancy of mundane moments.
Kusruti excels as the stoic and self-denying Prabha, whose internalized sorrow and repressed frustration are palpable. Trapped in a marriage without communication with her husband abroad, Prabha places the needs of others above her own. Kusruti’s performance is infused with longing and hidden loneliness, rendering her character profoundly relatable.
Divya Prabha portrays the vibrant and innocent Anu, injecting youthful spirit and fervor into the screen. Anu’s hidden relationship, bound by societal expectations, fuels her feelings of frustration and longing for autonomy. Her dynamic with Prabha underscores the conflict between traditional values and personal empowerment, marking a significant narrative thread.
Kadam, as Parvaty, presents a composed and grounded portrayal. Confronted with the loss of her home to Mumbai’s incessant development, Parvaty represents the city’s transient nature. Her financial hardships in Mumbai starkly contrast with the independence she rediscovers in her hometown, generating a sense of inner turmoil that resonates among all three women.
### Mumbai as a character in *All We Imagine As Light*
Mumbai, a sprawling city inhabited by over 21 million people, evolves into a character in its own right in Kapadia’s film. Filmed across neighborhoods like Lower Parel and Dadar, the “city of lights” is also portrayed as a “city of illusions” — a realm of aspirations and letdowns, isolation and spontaneity, relentless growth, and stark disparity. As Parvaty poignantly notes, “You could just vanish into thin air and no one would know.”
The city’s ever-present din — from train whistles to construction sounds and traffic — serves as the backdrop for the film, seamlessly merging with Dhritiman Das’ captivating electronic score. Cinematographer Ranabir Das captures both the chaos and intimacy of Mumbai, contrasting its bustling thoroughfares with quiet, introspective moments. Kapadia’s directing style often feels documentary-like, as she reveals the stories of Mumbai’s inhabitants through voiceovers, illustrating how each individual has arrived, adjusted, and sought fresh starts in the city.
These snapshots are complemented by sweeping views of Mumbai’s streets, peeks into the lives of shopkeepers, apartment dwellers, and commuters. The film’s extended takes immerse the audience in the city’s rhythm, allowing them to witness life unfold in real time. Editor Clément Pinteaux (*So Long Sadness*) augments this experience.