In Mumbai, Nurse Prabha's routine is troubled when she receives an unexpected gift from her estranged husband. Her younger roommate, Anu, tries in vain to find a spot in the city to be intimate with her boyfriend. A trip to a beach town allows them to find a space for their desires to manifest.
Kani Kusruti Divya Prabha Chhaya Kadam Hridhu Haroon Azees Nedumangad Tintumol Joseph Anand Sami Lovleen Mishra Madhu Raja Shweta Prajapati Ardra K.S. Sisira Anil CK Aparna Ram Kashish Singh Nikhil Mathew Bipin Nadkarni Snehalata Siddharth Tagde Saee Abhay Limaye Sanjay Balu Ghanekar Shailaja Shrikant
Thomas Hakim Olivier Père Frank Hoeve Julien Graff Gilles Chanial Zico Maitra Roberto Minervini Ranabir Das Denise Ping Lee Govinda Van Maele
Prabhayay Ninachathellam, 你是我眼中的那道光, All We Imagine as Light - Amore a Mumbai, 우리가 빛이라 상상하는 모든 것, 想象之光, La luz que imaginamos, Wszystkie odcienie światła, Záblesky naděje, כל מה שאנחנו מדמיינים כאור, 乘著光的幻想, ที่ตรงนี้ยังมีหัวใจ, Aydınlık Hayallerimiz, Au-delà de la lumière, Mumbain valot, Все, что нам кажется светом, Tudo Que Imaginamos Como Luz, Усе, що нам здається світлом
France
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USANR
France
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New Zealand
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Austria
Canada
China
Czechia
Estonia
France
Germany
Hong Kong
India
Indonesia
Ireland
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roughly 97% chance i watch this again in the fall and bump the score up.
will be a nice Palme winner.
QCINEMA INTERNATIONAL FILM FESTIVAL #4
One of the most beautiful qualities that cinema possesses is its ability to connect with people worldwide regardless of a film's language and setting. Winner of the Grand Prix at the 77th Cannes Film Festival, this film follows three female nurses in Mumbai, India, showing how women are treated and live in the country.
This movie captures everything I love about film. While some watch movies for entertainment or escapism, for me, it's always been about learning about others, witnessing different stories, and experiencing my feelings profoundly. I've rarely come across anything as engaging as this film. To feel connected to the characters is such a special experience, and I came to love them as…
sending my girl a zojirushi rice cooker to make up for a decade of estrangement wish me luck
~ TIFF 2024 #15 ~
Very excited to watch this again when it's not the last night of Cannes and I am barely conscious (even still, terrific movie)
ALL WE IMAGINE AS LIGHT is a calm look into the complex lives of a group of Indian women with relatable & moving performances from Kani Kusruti, Divya Prabha & Chhaya Kadam. Really was taken by the film’s color palette & overall cinematography which captures Mumbai in all its natural beauty. Payal Kapadia has crafted a tender, enthralling & intimate film on female desires & insecurities, which should further cement her as one of the best Indian filmmakers out there.
a stone cold stunner and hands down the most gorgeous film of the year. marries compelling, sobering social realism to genuinely dreamy, romantic imagery (hints of Weerasethakul?) and absolutely knockout character melancholy. feeling so eternally lonely in a city that’s not truly yours and having to realize that nobody else is gonna change that for you. took my breath away at every turn and didn’t let up until the credits started rolling. what an incredible debut achievement
Something so remarkable about Payal Kapadia's work here is the modesty of its approach: a description that can be erroneously thrown around a lot to describe a film's style, but here I think is the perfect way to describe how this film is just beautiful, without insistence upon itself. From each gorgeously captured frame where natural light and colours create that rich tapestry, to the vividly realised soundscape of Mumbai, from the city to the sea, all so assuredly handled in a way that never feels like it's showing off, or going for a big cinematic moment. This extends to the way it handles its layered themes: as it opens with a series of disembodied voices of the city (a…
There’s a scene in the middle of the first hour where Prabha (Kani Kusruti) and Anu (Divya Prabha) have a conversation inside their small house, ubiquitous in the city of Bombay, but Payal Kapadia and cinematographer Ranabir Das’ camera leaves them to themselves and instead roams the city. The camera lingers from the skyline on neighbouring buildings with their lit apartments, wide shots of the city with the metro trailing between buildings like a snake making its path through a dense forest floor. In a crowded city like Bombay, one where anyone can be anonymous, anyone can disappear in a crowd, where one can be rendered a non-person if they don’t have their papers, Kapadia distills the idea that it’s…
