When the “spirit of Mumbai” is evoked, it often symbolizes the city’s imagined resilience, especially in the aftermath of a significant calamity. This idea commonly presumes that the faceless common citizens, who lack the privilege to stay indoors safely, step out driven by this indomitable spirit. However, Payal Kapadia’s debut feature, “All We Imagine as Light,” challenges this assumption by bringing those less privileged to the forefront and giving them a voice.
The film opens by highlighting these multitudes before narrowing its focus on three main protagonists. In a sequence reminiscent of Kapadia’s documentary roots, we hear the personal stories of individuals who migrate from various parts of the country to Mumbai, seeking better livelihoods. Among them are Malayali nurses Prabha (Kani Kusruti) and Anu (Divya Prabha), and Parvaty (Chhaya Kadam), a hospital employee. These characters embody the spirit of thousands who flock to the city for opportunities.
However, “All We Imagine as Light” is not merely about their professional lives or daily struggles. Instead, it delves deep into their interior worlds, exploring their desires, disappointments, confusions, and even biases. Prabha, for instance, has an air of weariness, having lived in the city for a while. She constantly worries about her husband, who, after moving to Germany for work, has barely spoken to her in the last year. “Maybe he has nothing more to say,” she confides to her friend, expressing her sense of abandonment and disillusionment.
In stark contrast, Anu is vibrant and full of energy, reveling in her newfound freedom in the city and secretly enjoying a romantic relationship with Shiaz (Hridhu Haroon). Prabha, influenced by patriarchal norms, finds Anu’s behavior troubling and struggles to articulate her concerns. Despite this, Anu is determined and adventurous, although she too faces uncertainties about her future.
. Parvaty, meanwhile, is battling eviction from her home of over two decades. Without any official documents to prove her ownership, she is at the mercy of skyscraper builders eager to displace her. Despite their varied challenges, the three women find common ground and support in each other.
This camaraderie is not for any specific act of rebellion, except perhaps a delightful scene where they throw stones at a builder’s advertisement hoarding. Rather, it signifies their solidarity and mutual support. The film transitions from the bustling nights of Mumbai, filled with ceaseless activities, to the quiet, reflective moments of the protagonists in their private spaces. In its latter half, the narrative shifts to a sunlit, tranquil seaside village in Maharashtra. In a passage of inspired writing, Prabha experiences a sense of closure through a scene that gracefully balances the real and the imaginary. However, the film’s conclusion leaves one feeling slightly unsatisfied, as if something is intentionally held back, gently drifting away like a kite in the breeze rather than soaring like a bird.
“All We Imagine as Light” often feels like a Mumbai mood piece, complemented by gentle jazz music. Occasionally, the camera captures the vast stretches of flats with dimly or brightly lit windows, showcasing the ever-moving suburban trains and the teeming populace, reminding us that these are not just individual stories but represent the collective experiences of many outsiders trying to make Mumbai their home. Kapadia skillfully infuses lyrical quality into even the most mundane moments, thoughtfully transforming the endlessly romanticized Mumbai rains into a frustrating hindrance for a romantic encounter.
Ultimately, “All We Imagine as Light” is as much an ode to the city as it is to the outsiders, who are perpetually in limbo – unable to call it home yet unable to leave.
As the film continues its run in select theatres in Kerala, it offers an opportunity for viewers to immerse themselves in the nuanced and heartfelt portrayal of Mumbai and its myriad of untold stories.
