All We Imagine As Light Review: Payal Kapadia's Tale Of Dreams And Resilience

Image Credits: IMDb

I had been eagerly waiting for Payal Kapadia's All We Imagine As Light for a while, and we were finally blessed with its theatrical release this month. There’s no other way to put it—it’s the best film I’ve watched this year. Payal Kapadia, an FTII (Film and Television Institute of India) alum, made this feature as her final year project, and we owe her immense gratitude for her efforts. When people around the world talk about Indian cinema, it’s a relief to know they mention films like All We Imagine As Light.

To be very honest, I thought my anticipation for the film might influence my review and make it biased, but I have to confess that I’m truly amazed—not because of my excitement but because of the sheer authenticity and originality that drive this film. Starring Kani Kusruti, Divya Prabha, Chhaya Kadam, and Hridhu Haroon, the film is produced by companies from France, India, the Netherlands, Luxembourg, and Italy. It even won the Grand Prix award at the 77th Cannes Film Festival.

All We Imagine As Light tells the heartfelt story of three women trying to find their way in the bustling city of Mumbai. Anu (played by Divya Prabha), a cheerful young nurse, juggles her secret romance with Shiaz, a boy from a different faith, and the judgment of her coworkers. Her roommate Prabha (played by Kani Kusruti), a serious and hardworking head nurse at the City Hospital, struggles with the loneliness of a distant marriage when an unexpected gift from her husband stirs old feelings. Parvaty (played by Chhaya Kadam), an older hospital worker, faces the loss of her home to developers and eventually decides to return to her seaside village. As their paths cross, the film beautifully explores their friendship, dreams, and struggles, showing how they support one another in a city full of challenges and contradictions.

My love for women filmmakers, writers, and directors is a never-ending tale of romance. I often find myself revisiting old films written by women or about women. Payal’s choice to craft a story about three women and turn it into a feature that resonates not just with Indians but with audiences worldwide has added a new dimension to Indian cinema. The storyline is flawless in its character development and flow—never once do you feel lost during the film.

This is one of those rare films where nothing major happens externally to the protagonists, yet they fight internal battles far more complex. Setting the story in Mumbai is another element that adds depth, reflecting the busy yet lonely lives of the characters and their constant effort to make the city their home. Mumbai’s culture, speed, and people make every immigrant feel at home but also compel us to question whether we truly belong. Payal Kapadia’s storytelling captures this uncertainty and makes you fall in love with it.

Considering this is an independent film, crafted as a final-year project, the production setup isn’t what you’d see in commercial films. However, Payal shared in an interview that many scenes were shot “guerrilla style” to preserve the film’s authenticity and rawness. Creating independent cinema anywhere in the world comes with its challenges—be it minimal budgets or finding the right collaborators. Luckily for us, Payal’s low-budget feature delivers an experience that stays with you long after the credits roll.

The cast deserves a special mention. Kani Kusruti’s Prabha might just be one of the most nuanced and layered female characters I’ve seen recently. Her progression and development throughout the film are beautifully written. The way she navigates Mumbai—speaking Hindi, a language she’s learned out of necessity, and treating herself to an occasional fish fry—adds authenticity. Divya Prabha’s Anu is a character close to my heart for her rebellion and her quest for freedom in a city away from home. Hridhu Haroon’s Shiaz stands out as one of the most emotionally empathetic and available male characters in Indian cinema. The cave scene between Anu and Shiaz, where they choose to be vulnerable, is among the film’s best-written moments. As for Chhaya Kadam, her performance needs no introduction. From All We Imagine As Light to Laapataa Ladies and Madgaon Express, she’s consistently delivered remarkable work this year.

The film’s exploration of migration, home, family, loneliness, and independence hits home like no other. With its multilingual dialogues and contrasting settings—Mumbai’s urban chaos and Ratnagiri’s secluded village—it forces you to reflect deeply. The background score amplifies these emotions, sending shivers down your spine as you ponder life, love, and freedom throughout the film’s 118-minute runtime. A special shoutout to the scene where Anu and Parvaty dance—it’s always heartwarming to see women embracing joy and dancing like no one’s watching.

Overall, All We Imagine As Light is a film I’ll be talking about for years when discussing Indian cinema and its offerings to the world.