“Mumbai is a contradiction,” states Payal Kapadia on the release day of “All We Imagine as Light,” her radiant and empathetic feature debut that historicized its presence by winning the Grand Prix at the Cannes Film Festival this past May. Though set largely in Mumbai, the film has had an unusual start, premiering in Kochi under the Malayalam title “Prabhayay Ninachathellam.” Despite being among the 28 films vying to be India’s official Oscar entry, it lost to Kiran Rao’s “Laapata Ladies.”
Spirit Media, helmed by Telugu star Rana Daggubati, has crafted the film’s unconventional release strategy. The banner acquired the Indian distribution rights post the film’s Cannes victory and is extending its reach to the U.S. and France.
“All We Imagine as Light,” led by Kani Kusruti and Divya Prabha and beautifully shot by Ranabir Das, explores the friendship and aspirations of two Kerala nurses sharing a life in Mumbai. This remarkable piece of cinema is notably the first Indian film in 30 years to compete for the Palme d’Or and the first one ever to win the prestigious Grand Prix, the second-highest accolade at Cannes.
The film’s triumph sparked a considerable discussion back home, even prompting congratulations from Prime Minister Narendra Modi and the Film and Television Institute of India (FTII), Kapadia’s alma mater. However, this celebratory tone is contrasted by the critiques surrounding India’s lack of support and infrastructure for independent films. A case in point is the Government’s delay in disbursing the promised rebate to international co-productions like “All We Imagine.”
In response to questions about the rebate’s status, Kapadia comments, “It was in process when I last checked, but I’m confident it will be resolved soon.”
The conversation with Kapadia and Rana Daggubati sheds more light on the collaborative endeavor.
Rana Daggubati explains the inception, “A partner at Spirit Media, Prateeksha Rao, introduced the film to us, revealing a hidden gem from our own country. It’s a story deeply rooted in Indian culture, dealing with Malayalis living in Bombay. It’s both a universal and unique narrative, necessitating a distinct approach from mainstream cinema.”
Spirit Media has long committed to amplifying unique voices, primarily within the Telugu cinema context. Expanding this mission to incorporate indie films nationwide is a venture they find both challenging and exhilarating.
“We were keen to collaborate with Spirit Media post-Cannes,” says Kapadia. She praises their bold vision for independent cinema in India. “Their participation provides a structural method to nurture a culture and ecosystem for indie films. This partnership between mainstream and indie sectors is integral to building a collaborative industry.”
Rana elaborates on the release strategy, emphasizing the need for a limited run in each major film-watching community. This method aims to foster organic growth within India, a process that independent cinema needs to gain traction among larger audiences.
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The response in Kochi is a testament to this strategy’s success. “On opening day, the first two shows sold out in minutes,” Rana shares. “That’s the Kerala audience’s love for independent cinema.”
Despite the challenges, both Kapadia and Daggubati express optimism. Rana laments the absence of an ecosystem to connect Indian independents with distributors, a reality starkly highlighted when “All We Imagine” was first recognized internationally. “Telugu cinema at least has preview theatres for indie films. It’s a small system, but it exists,” he notes.
Expanding their reach beyond Telugu cinema and experimenting with a cross-country plan represents Spirit Media’s first significant step into the indie domain. Rana anticipates this will pave the way for more diverse stories to find a home.
Kapadia expresses concern about the diminishing financial support for independent films in India. “Previously, there were government and private funds available for indie projects. Such a system needs to be reinstated. Western markets benefit from established financial backing, and similar labs and film markets could immensely benefit Indian cinema.”
Rana remarks on the origins of global film festivals like Cannes—geared initially towards tourism—and points out that India lacks a central, unifying event aside from the National Awards. He stresses the importance of grants and ecosystem support for nurturing both independent films and major awards.
Reflecting on Mumbai, Kapadia portrays it as a city of immense opportunity and contradiction. “Especially for women, the city offers numerous possibilities despite its daily challenges, such as commuting on the flooded Harbour line during monsoons. These contradictions are woven into my film,” she comments.
Rana shares his personal connection with Mumbai. Despite spending much time in the city for work, it never feels entirely settled. “It’s an energy-rich metropolis,” he observes, noting how Bombay embodies opportunity and resilience.
Both appreciate diverse cinema, from Karan Johar’s mainstream hits to indie gems like “Sairat” and Malayalam cinema’s slice-of-life tales. Rana concedes, with a laugh, “I’m not that indie after all. I’m the bad guy from Baahubali.”
Published – September 24, 2024 05:08 pm IST
Indian cinema/Hindi cinema/Cannes Film Festival
