As a cinephile who has spent countless hours immersed in the cinematic world, I must say that Payal Kapadia’s “All We Imagine as Light” is nothing short of a masterpiece. It’s like a beautiful melody that resonates deeply within your soul, striking all the right chords.
Chantal Akerman’s 1976 documentary, Notes from Home, offers a blend of expansive and intimate perspectives. Instead of exploring wide-ranging landscapes, this film limits its focus to prolonged, uninterrupted shots of diverse New York City locales. The camera moves gently and leisurely over these territories, capturing the daily routines of countless individuals living in this vibrant urban setting. Meanwhile, the soundtrack features Akerman reading her mother’s letters from Brussels, Belgium, which contain updates about pregnancies, marriages, and her mother’s repeated requests for a photograph of Akerman in New York City. Thus, the hustle and bustle of one of the world’s largest cities are contrasted with heartfelt, private correspondence between mother and daughter.
Payal Kapadia, the creative mind behind All We Imagine as Light, opens her film with a sequence reminiscent of Notes from Home. Instead of focusing on one individual, Light provides a broad view of Mumbai’s nightlife routines. Scenes depict hordes of people heading to train stations and merchants unloading fruits from trucks, all captured in wide shots that don’t single out any one person but rather showcase the convergence of various lives. In stark contrast, these scenes are accompanied by voice-overs from Mumbai residents speaking a variety of languages. Each speaker shares unique stories, such as why one individual moved to Mumbai because “all the jobs and opportunities are here.” The film offers a deeply intimate audio perspective into their lives while showcasing the sprawling city they inhabit.
In this setting, two contrasting elements coexist: expansiveness and intimacy. Kapadia skillfully captures Akerman’s admiration with the awe-inspiring opening scene of “All We Imagine as Light’s”. This bold, powerful start perfectly sets the tone for an extraordinary cinematic journey.
Following this initial scene, Kapadia focuses on the film’s two main characters, Prabha (played by Kani Kusruti) and Anu (Divya Pabha). These two are nurses working in the same office and sharing a warm Mumbai apartment as roommates. If they tried any harder, it would be impossible to find a more distinct pair. Prabha is a woman scarred by her past, her heart still healing from a husband who abandoned her for Germany. In contrast, Anu is a lively character involved in a clandestine romance with the charming Shiaz (portrayed by Hridhu Haroon). However, due to Shiaz being Muslim, their relationship remains a secret, even to Prabha herself.
All We Imagine as Light is one of my favorite kinds of movies: explorations of everyday challenges. Just existing within the suffocating confines of capitalism is enough to drain the energy from your soul. Sometimes, modern cinema’s ignorance of woes like rent payments or wealth inequality can make me feel like I’m going insane. Am I the only one experiencing these woes? Quietly melancholy pieces of observational cinema like All We Imagine as Light function as artistic pats on the back to everyday people. Proletariat concerns are finally realized in a modern film landscape often more concerned with humanizing TV producers or letting billionaires mold our society.
This outstanding achievement significantly expands upon Kapadia’s artistic passions. Notably, her first full-length directorial project, “A Night of Knowing Nothing“, boldly questioned various societal expectations, particularly the stigmatization of student protesters in India under Narendra Modi’s authoritarian regime. This working-class perspective is as revolutionary to cinematic standards as it is emotionally resonant. “All We Imagine as Light” skillfully stirs the heart with its tender portrayals of human interaction. The chemistry between Anu and Shiaz is so endearing that I could have spent endless hours watching them exchange witty banter on a train. The deep connection between Prabha and Haroon is further underscored in a later scene where initially distant Anu gradually warms up to Shiaz as he subtly nurtures a potential romantic relationship.
In a single, seamless shot, Kapadia and cinematographer Ranabir Das beautifully portray an extraordinarily adorable interaction between Prabha and Harron. This visual approach allows viewers to fully appreciate their superbly nuanced acting. Prabha, in particular, delivers exceptional work, effortlessly conveying a hurt, detached demeanor that softens as Harron’s playful persona gradually takes over. Witnessing this transformation under Prabha’s skillful direction is truly captivating. Moreover, this scene effectively underscores the tender bond between Anu and Shiaz, making them seem incredibly endearing to audiences. Even minor details, such as the subtle framing of bystanders in the corners of the shot, are noteworthy. These background figures serve as a gentle reminder of the broader societal prejudices that Anu and Shiaz face, emphasizing their isolation within a crowded world.
In every corner, the movie All We Imagine as Light showcases an intricate attention to visual detail. This is evident in one recurring visual theme where characters, specifically Prabha, deliver narration while vast, disconnected shots of Mumbai or surrounding forests are shown on screen. This technique doesn’t merely enhance the powerful opening sequence; it also symbolizes that Prabha’s emotions extend beyond the boundaries of a single location or room. Simply watching her speak these words within a four-walled space would not effectively convey the vastness of her feelings. The poignancy stirred by her receiving an unexpected rice cooker from Germany, symbolizing her absent spouse, demands a grand cinematic backdrop for maximum impact.
In this film, frequently switching to external settings serves to emphasize the unique characteristics of the society where Prabha, Anu, and other characters reside. Akerman’s Notes from Home employed heartfelt letters and footage showcasing every flawed corner of New York City to craft a profoundly nuanced image of the city and its people. This production delved into emotional complexities that couldn’t be encapsulated in a simple postcard. Similarly, All We Imagine as Light mirrors Notes from Home by presenting a more intricate depiction of a renowned city often referred to as “a promised land.
One especially unforgettable sequence encapsulating this theme lingers on images of various Mumbai citizens celebrating in the streets as a glorious parade passes by. Dancing is everywhere, confetti seems to rain from the heavens. However, voice-over narration from various Mumbai residents of countless languages returns for this scene to undercut the on-screen euphoria. Here, various voices mournfully remark about “an unspoken agreement” that people in lower financial and societal castes can’t complain about their situation. So demanding are the obligations of everyday capitalistic existence that, as one narrator puts it, “You have to believe the lie or you’ll go crazy.”
This sequence is meticulously crafted to the smallest detail, with skilfully timed transitions between shots of Mumbai residents celebrating, thanks to editor Clément Pinteaux’s expertise. The ability of Payal Kapadia, making her feature-length narrative film directorial debut, to handle both intricate and sparse visual sequences in “All We Imagine as Light” with equal finesse is a testament to her creative confidence. Close-up cinematography capturing Prabha, Anu, and Parvaty (Chhaya Kadam) casually socializing is just as compelling as the more complex segments of the film.
In simpler terms, Kapadia’s camera’s warm gaze contributes significantly to the heartwarming and poignant impact of “All We Imagine as Light.” The film is filled with subtle scenes showing people caring for one another in a challenging world, which often left me teary-eyed. For instance, the initial scene where Anu assists a woman at her office in obtaining birth control sets the tone for the compassionate and meaningful depictions of kindness throughout the movie’s most emotional moments. The scene where Parvaty and Prabha dine together at a restaurant that the former character had previously never visited is equally touching, as is a brief instance where Anu receives help from other women while shopping for a hijab. The film’s skillful blend of personal testimonies with sweeping visuals is nothing short of astounding, and its understated portrayal of people supporting one another is equally impressive.
Additionally, it’s just as striking visually in “All We Imagine as Light”? Remarkably, the cinematography gives off the impression that it was filmed on traditional film formats like 35mm or 16mm, but surprisingly, it was shot digitally. In an interview with Ranabir Das for Cooke Optics (the supplier of S4/i Prime Lenses used in “Light’s” cameras), budgetary limitations were the reason behind choosing digital photography. However, Das also emphasized the need to preserve a raw and authentic aesthetic in “Light’s” imagery, which is undeniably reflected in the final product. The rough texture of pebbles crunching under Anu and Shiaz’s feet on the rocky beach and the worn-out interiors of their living spaces evoke the same tactile sensation as any 1970s New York City drama set in dilapidated apartments.
In a more casual and relatable manner, let me rephrase the given text: Just like two people deeply in love entwined, reminiscent of Hiroshi Teshigahara’s intricate visuals in The Woman in the Dunes, evokes a sense of detail that digital cinematography often lacks. Many mainstream American films are now shot digitally, but it’s high time we experimented with film again to create something truly exceptional. The challenge has been set. Filming Jurassic World on film didn’t make it a masterpiece that would have delighted Gregg Toland. However, films like All We Imagine as Light’s demonstrated (like The Social Network or Barbie) that digital cinematography doesn’t necessarily result in low-quality images.
The stunning visual design in “All We Imagine as Light” truly deserves the timeless accolade of being “a delight from start to finish.” From its deeply human opening scene to its poignantly moving final image, this year’s most memorable cinematic moments can be found within its frames. This film masterfully portrays a heart-wrenching narrative about individuals striving to stand out amidst the confines of capitalism and societal norms, all while showcasing some of the most breathtaking images of 2024 cinema. Initially drawing comparisons to Chantal Akerman’s masterworks, Payal Kapadia swiftly establishes herself as a unique filmmaking talent, setting her apart from her peers.
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2024-11-26 03:15