“Mumbai is a contradiction,” declares filmmaker Payal Kapadia as her debut feature film, “All We Imagine as Light,” graces Indian screens. The film, a poignant and visually striking exploration of friendship and desire, made history by clinching the prestigious Grand Prix at the Cannes Film Festival in May. Although primarily set in the heart of Mumbai, the film’s initial domestic release took place in Kochi, with the Malayalam title “Prabhayay Ninachathellam.” It was among 28 contenders for India’s official entry to the Oscars but ultimately lost out to Kiran Rao’s “Laapataa Ladies.”
The film’s unconventional release strategy, aimed at expanding the reach of independent cinema, has been the brainchild of Spirit Media, the distribution banner spearheaded by Telugu superstar Rana Daggubati. Following its success at Cannes, Spirit Media secured the rights to distribute the film in India, the US, and France.
Fronted by compelling performances from Kani Kusruti and Divya Prabha, and captured beautifully by cinematographer Ranabir Das, Kapadia’s narrative zeroes in on the lives of two Kerala nurses living in Mumbai. Notably, this film marked the first Indian entry in three decades to compete for the Palme d’Or and the first ever to earn the Grand Prix, the second-highest accolade at Cannes.
Despite accolades from prestigious quarters, including Prime Minister Narendra Modi and the Film and Television Institute of India (FTII) — Kapadia’s alma mater — the discourse back home revealed a stark reality. Many critics highlighted the nation’s enthusiasm for claiming cinematic triumphs on global stages while lamenting the inadequate support infrastructure for independent films. For example, the government had not yet disbursed promised rebates to international co-productions like “All We Imagine as Light.”
Kapadia remains hopeful about the situation. Speaking to The Hindu, she said, “The rebate was still in process last I heard, but now I think it will be really soon.”
In an exclusive interview with The Hindu, Kapadia and Daggubati shared insights into their collaboration.
Rana Daggubati recalls, “My partner at the company, Prateeksha Rao, was the first to bring this film to our attention. We were all moved by it and puzzled as to why such a beautiful film hadn’t gained more visibility here. It’s an arresting Indian narrative about Malayalis in Bombay, relatable yet unique.”
At Spirit Media, the priority manifests in amplifying unique voices. “We’ve traditionally focused on Telugu cinema because it’s a smaller market. But this project was a fresh challenge, and we saw it as a chance to stretch our horizons,” Daggubati added.
Kapadia acknowledges the challenges of bringing indie films to mainstream theaters in India. “I deeply appreciate the partnership because this isn’t common practice here. Collaborating with mainstream entities is crucial to cultivating a supportive ecosystem for independent cinema.”
Rana adds, “Our goal is to ensure the film experiences a limited yet impactful run in each major cinematic hub. While other countries enjoy a well-defined festival circuit, India’s first attempt at such a model is this state-to-state strategy.
. For instance, on its opening day in Kochi, tickets for the first two shows sold out within minutes — a testament to the power of indie cinema and Kerala’s discerning audiences.”
Reflecting on the lack of communication within the Indian film industry, Rana remarks, “It’s absurd that we came to know about this gem only after it toured international festivals. Unlike the Telugu industry, which has a few preview theaters for independent filmmakers, there is no nationwide infrastructure helping indie voices.”
“This endeavor marks our first step outside our Telugu comfort zone, and we hope it opens doors for more diverse storytelling,” Rana emphasizes. “India once had funds supporting indie films, but now such resources are dwindling. A structured system of funding, like those in the West, would be beneficial.”
Kapadia adds, “There’s also a need for networking platforms where filmmakers, investors, and distributors can connect. Right now, film festivals and distribution circuits operate in silos.”
Touching upon the origins of global festivals, Rana notes, “Events like Cannes were initially conceived to boost tourism. Similarly, in India, except for the National Awards, there isn’t a single unifying platform for cinema. Just as indie films need grants, major awards and their ecosystems require funding too. With the rising success of films like ‘Baahubali’ and ‘RRR,’ we are slowly speaking a unified cinematic language. The wave for independent cinema will rise in due course.”
Kapadia and Rana find camaraderie in their shared love for Mumbai, despite its contradictions. For Kapadia, the city’s vibrant yet harsh reality is encapsulated in her experiences commuting and working there. “Mumbai offers many possibilities, especially for women, but it can also be unforgiving. I wanted the film to reflect these nuances.”
Rana shares a similar sentiment: “Mumbai feels like a second home due to its dynamic energy. The city embodies opportunity, with the most brilliant minds thriving here. It’s not the laid-back environment of Hyderabad but a frenetic and challenging landscape that fosters growth.”
Conclusively, both embrace mainstream cinema with equal fervor. Kapadia enjoys an array of Indian films, from Karan Johar’s latest works to classics like Amitabh Bachchan’s “Deewaar.” Rana admires films like “Sairat” and even acknowledges his own mainstream persona: “I’m the bad guy from Baahubali, dude.”
As “All We Imagine as Light” continues its journey, the collaborative efforts of innovators like Kapadia and Daggubati promise to gradually reshape the Indian cinematic landscape, fostering a more inclusive and supportive environment for independent voices.
