All We Imagine As Light - hope and despair in an indifferent urban jungle

‘I’ve lived here for 23 years, but I am afraid to call it home. There’s always the feeling that I have to leave.’ The opening line of the film All We Imagine as Light perfectly depicts the turmoil of being an immigrant, away from a land you call home.

All We Imagine as Light opens with lively shots of Mumbai’s packed streets, capturing the city’s bustling energy. The overwhelming yet soft shots immediately set the tone for the film’s exploration of migration and new beginnings, as millions arrive in the metropolis, chasing dreams or escaping realities. The camera weaves through these streets, with a stylistic choice of a hand-held camera, almost voyeuristic style, as if we are not merely observers but confidants to the characters’ inner worlds.

Payal Kapadia’s first narrative feature blends poetic realism with sharp social commentary. The story focuses on three nurses: Prabha, Anu, and Parvaty. Prabha, recently abandoned by her husband after an arranged marriage, navigates a life filled with yearning and duty, while Anu juggles the precariousness of a Hindu-Muslim romance. Parvaty faces eviction due to looming gentrification. Their struggles encapsulate the tension between hope and despair in an indifferent urban jungle.

Kapadia’s artistry is apparent in her tactile use of sound and image. Melancholic shades of blue flood the screen, reflecting the characters’ loneliness, while moments of surrealism—such as a nearly drowned fisherman becoming a vessel for Prabha’s longing—break the narrative’s realism, hinting at a mystical undertone. The camera’s closeness to the characters creates an intimacy that transforms even mundane moments into profound reflections.

The film’s title, All We Imagine as Light, gains resonance from the line: “in the darkness you try to imagine light but you cannot.” It encapsulates the characters’ desperate attempts to hold onto a glimmer of hope amidst their suffocating realities. Whether it’s Prabha finding solace in poetry or Anu stealing moments of love in public spaces, the film poignantly illustrates the resilience required to imagine light in overwhelming darkness.

Kapadia’s work, reminiscent of Apichatpong Weerasethakul’s dreamlike storytelling and Wong Kar-wai’s color palettes, brings global sensibilities to an Indian setting. Her poetic, yet precise portrayal of Mumbai captures its dual nature: a city of dreams and relentless hardships. This debut confirms Kapadia’s place as a vital voice in contemporary cinema.

The London Migration Film Festival will screen All We Imagine as Light as part of their 2024 programme. The inclusion of the film amplifies its themes, inviting audiences to reflect on the struggles faced by those who navigate the precariousness of migration, whether across continents or within the soul.

The festival’s 9th edition runs from 20-27 November 2024 at a number of venues across London.