As director Payal Kapadia prepares for the release of her debut feature All We Imagine As Light on November 22, 2024, in India, she describes the film as more of a “poem” than a conventional narrative. Shot in striking blue and yellow tones, the Grand Prix winner at Cannes 2024 is a heartfelt exploration of the lives of migrants in Mumbai, a city they flock to in search of a better future.
In an exclusive interview with Hindustan Times, Payal kapadiaPayal kapadia discusses the film’s central themes of migration, alienation, and human connection. The story revolves around three women—Prabha (Kani Kusruti), Anu (Divya Prabha), and Parvaty (Chhaya Kadam)—who form an unlikely bond amid the struggles of city life. While the film explores their hardships, Kapadia emphasises the moments of joy that punctuate their journey. “Whenever Anu and Shiaz (Hridhu Haroon) are together, it feels more joyous. Exploring the streets of Mohammad Ali Road or visiting parks, there’s a sense of delight in their shared experiences,” Kapadia says. She adds that despite the challenges, the characters find strength in each other, forging a bond through their trials.
Kapadia highlights the tough realities of living in Mumbai, a city where constant movement and high living costs can make it a “brutal” place. “During COVID, many migrants were forced to return home because the city was simply too expensive. It’s a difficult place to survive, and yet, it draws millions of people seeking opportunity,” she reflects.
A key narrative element in All We Imagine As Light is the relationship between two Malayali women, Prabha and Parvaty, whose friendship defies the language barriers and cultural divides typical for many South Indians in Mumbai. Kapadia explains that the choice of Malayali nurses as central characters reflects both the linguistic and emotional challenges faced by migrants from the southern states. “Language can both isolate and unite. Many people from the south find comfort in sticking together, but I wanted to show a different, more hopeful bond between a Maharashtrian woman and a Malayali woman,” she says.
Despite the critical acclaim the film has garnered at Cannes, Kapadia expresses deep excitement about releasing the film in India. “Winning at Cannes was a privilege, but releasing a film in India is a dream,” she says, acknowledging the challenges of independent filmmaking. “The journey to raise funds and make the film was tough and there were moments when I questioned what I was doing with my life. It’s a risky business, whether making big-budget or small-budget films.”
Looking ahead, Kapadia reveals that her next project will also be set in Mumbai, a city she knows intimately. As for the futures of Prabha, Anu, and Parvaty, she teases, “Their story could continue. There’s always more to explore in the city of dreams, and in the world they’ve built together.”