all-we-imagine-as-light-movie-review

BOTTOM LINE
A Poetic Slice of Life

PLATFORM
Disney+ Hotstar


What Is the Film About?

Far from the comfort of their hometowns, two nurses—a middle-aged Prabha, and a free-spirited Anu—and a widowed cook Parvaty work at a hospital in Mumbai, coping with the mundanity in their lives. While Anu has more or less given up hope on her husband’s return, Prabha is in a discreet relationship with Shiaz, and Parvaty fights it out with a real-estate baron to stay in her flat.

Performances

Kani Kusruti, who’s had a fantastic 2024 with Poacher, Killer Soup, Girls Will Be Girls, is a picture of composure in All We Imagine as Light, where she mirrors the various dimensions of Prabha with remarkable subtlety (in an effective, gestural performance). In the shoes of the more free-spirited role Anu, Divya Prabha is a breath of fresh air, oozing enthusiasm. 

Chaaya Kadam has a ball bringing Parvaty to life with an unusual mix of cynicism, sarcasm, wit and clarity. The other key characters – the men, played by Hridhu Haroon, Azees Nedumangad and Anand Sami – complement the leads with their restrained yet impactful performances, making a mark within limited screen time.

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Analysis

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The globally acclaimed, multiple award-winning indie film All We Imagine as Light, helmed by Payal Kapadia, now out on Disney+ Hotstar, is a marked departure from mainstream films/shows that romanticise the hustle culture in Mumbai. ‘I’ve been in Mumbai for 23 years and still struggle to call it home,’ says an average Mumbaikar in a few montages that lead us into the film’s plot. 

While showcasing the many personal conflicts of its protagonists – Anu, Prabha and Parvaty, the film intermittently switches into a documentary, where Mumabikars don’t mince words in stating what the city means to them. One calls it a city of illusions (not dreams); the other can’t make sense of its spirit – ‘We stay in a gutter, yet are supposed to be hopeful and not complain.’

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Prabha looks comfortable with solidarity but hasn’t heard from her husband in years and silently yearns for companionship—even warmly hugging a rice cooker that he sends her from Germany while resisting advances from a colleague. A younger Anu is more confident with her choices, unafraid of what the future holds for her, and finds joy in her romance with a Muslim boy Shiaz.

An ageing Parvaty, in contrast, may not be a woman of today but is no less in the vigour with her ways, fighting tooth and nail to continue staying in her flat. Sarcastically remarking about a skyscraper built by a real-estate builder (who’s threatening to drive her out of her flat), she mentions, ‘They think they’ll become God one day by increasing the height of their buildings.’

The story is of three women across various age groups trying to deal with the storms in their lives. They complete each other, drawing from each other’s experiences – learning, unlearning and rediscovering themselves within the mundanity of their existence. Within the scope of a simple premise, Payal weaves a gentle, interpretative narrative that leaves a profound impact. 

The film is very playful and diverse in its treatment, portraying womanhood in all its hues. Prabha, at a point, falls prey to the conservatism within her workplace and inadvertently judges Anu for her ‘outgoing’ behaviour. Anu, barely making enough to pay her rent, struggles to find open spaces where she can make love with Shiaz. Despite all her troubles, Parvaty values her freedom over family ties.

One can also sense the loneliness in the lives of the women but they don’t whine about it but just deal with it. As the film’s backdrop shifts to a Maharashtrian village in the latter hour, the story transports you to unexpected arenas. The change of terrain truly helps the women look at themselves, and their counterparts in a newer light and the idea of self-acceptance is established magically in the end. 

In a film that’s an unflinching celebration of the female gaze, the men, refreshingly, aren’t downplayed. Manoj, the doctor who likes Prabha is a shy man who respects a woman’s consent. Shiaz doesn’t resort to cliches to express his love for Anu – the heartfelt assurances do the job. The anonymous man, whom Anu rescues, is appealing because of his vulnerabilities.

The masterliness of All We Imagine as Light is best relished when you watch it on a clean slate. The film tells the story of a city as much as its characters, wooing you with its simplicity and mellowed treatment. The director doesn’t indulge in spoon-feeding and is not desperate to impress. Have patience, give this film time to grow on you and the aftertaste is worth it. 

Music and Other Departments?

It’s fascinating how the composer Topshe brings together varied musical influences – from the Ethiopian great Guèbrou’s pieces to the use of rap, jazz and electronica – to enrich the texture of the storytelling, without disturbing its breezy quality. Ranabir Das’ cinematography is raw and immersive and also has a calming effect on your senses. The easygoing flow of the narrative is one of its major strengths – the pacing is even and consistent while also offering a few surprises. 


Highlights?

Its perspective of a metropolis

Technical finesse – cinematography and the score

The terrific performances, gentle storytelling

Drawbacks?

Takes time to grow on you

Loses its way while portraying mundanity 

Abstract in places


Did I Enjoy It?

Yes

Will You Recommend It?

If you have a taste for arthouse/parallel cinema

All We Imagine as Light Movie Review by M9