Writer-director Payal Kapadia’s Grand Prix-winner, All We Imagine As Light considers the bonds between women in a slow-burn, lyrical drama.
, writer-director Payal Kapadia’s Grand Prix-winner from this year’s Cannes. This is by virtue of sheer numbers—the cramped living quarters, full subways, and busy streets map out an overwhelming urban space—and through commonality of experience. Even made anonymous by the city, its residents aren’t invisible, nor are their problems lonesome in their singularity.
Kapadia’s series of encounters focuses on three nurses: one, the flirty Anu , in the first throes of passion with a young Muslim man and the others old enough to have already been screwed over by the men in their lives. The latter two have been abandoned, either in death like the older widow Parvaty or in life like the harder-nosed Prabha , whose husband disappeared after getting a job in Germany.
Their frustration percolates through their surface-level resolve, perhaps as impotent in the moment as the student protestors of Kapadia’s docudrama debut,, but uniting them on a social oasis in the city’s unforgiving sea. Cinematographer Ranabir Das returns from that first film to capture a dark, lively Mumbai. He observes the city naturally, with streetlights, storefronts, and lit windows punctuating the monsoon-drenched rat race.
When the women escape city life to help Parvaty move back to her coastal village, the mundane begins to give way to something more exceptional, even magical: freed from the hustle and bustle, everyone can finally exhale. It’s a stark turn for the humid film, one that leaves it almost feeling naked without the crowds and close-built apartments.
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