Payal Kapadia, one of India’s most exciting young filmmakers, has been making waves on the global stage with her Cannes-award-winning film All We Imagine as Light. The film, a deeply evocative exploration of complex themes such as gender, memory, and identity, is now beginning its Oscar-qualifying run with a theatrical release in Kerala. The buzz around this film is not just due to its previous accolades, but also the chance it stands to make history as a major contender in the international film circuit, particularly the Academy Awards. Kapadia’s work has consistently showcased an innovative approach to storytelling, and with All We Imagine as Light, she takes her craft to new heights. The Kerala release marks a significant moment for Indian cinema. Kerala, often hailed as the heart of art-house cinema in India, is the perfect backdrop for this film’s theatrical debut. As All We Imagine as Light begins its Oscar-qualifying journey, the film industry and cinephiles alike are paying close attention to how this film, steeped in artistic merit, will be received both domestically and internationally. All We Imagine as Light made headlines when it won the prestigious L’Œil d’or (Golden Eye) for Best Documentary at the Cannes Film Festival, a monumental achievement not just for Kapadia but also for Indian cinema at large. The film, which defies traditional boundaries between documentary and fiction, captivated audiences with its dreamlike visuals and haunting narrative. The win at Cannes placed Kapadia alongside other celebrated filmmakers from around the world, propelling her into the global spotlight. Kapadia’s unique directorial voice, characterized by her use of archival footage, experimental sound design, and intimate portrayals of human experiences, stood out among the festival entries. The Cannes accolade not only affirmed her talent but also highlighted the potential of Indian independent cinema on the global stage. The win set the stage for the film’s Oscar-qualifying run, and now, with the theatrical release in Kerala, Kapadia is poised to continue her ascent in the world of cinema. All We Imagine as Light is a poetic meditation on the intersections of memory, trauma, and resistance. Set against the backdrop of contemporary India, the film weaves together personal stories of women grappling with issues of identity, displacement, and systemic oppression. The narrative structure of the film is non-linear, with Kapadia blending personal recollections, dream sequences, and fragmented moments from the past to create a tapestry of lived experiences.
The film’s central theme revolves around the idea of light, both literal and metaphorical. For the women in the film, light becomes a symbol of hope, survival, and the possibility of imagining a future beyond their immediate circumstances. However, the light is also elusive, constantly shifting and slipping away, much like the memories and identities the film seeks to capture. This interplay between light and darkness forms the visual and emotional core of Kapadia’s film. Visually, the film is a triumph. Kapadia’s background as a visual artist is evident in her carefully composed shots, which often linger on faces, landscapes, and everyday objects, inviting the audience to reflect on the stories they hold. The use of archival footage, a signature element of Kapadia’s style, adds another layer of meaning to the film. By incorporating images from the past, she creates a dialogue between history and the present, suggesting that the struggles faced by women today are part of a larger continuum. The decision to release All We Imagine as Light in Kerala is both strategic and symbolic. Kerala has long been regarded as the cultural capital of India’s parallel cinema movement. The state’s film culture, deeply rooted in realism and social critique, has produced some of India’s most revered filmmakers, such as Adoor Gopalakrishnan and Shaji N. Karun. The audience in Kerala is known for its discerning taste and appreciation for films that challenge mainstream narratives, making it an ideal location to begin the Oscar-qualifying run. The timing of the release is crucial as well, as it coincides with the beginning of the Oscar-qualifying period, when films must complete a limited theatrical run to be eligible for nomination. By starting the journey in Kerala, Kapadia is not only securing eligibility but also positioning the film in a market that values art-house cinema, which could help generate the critical buzz needed for the film to gain momentum internationally. Payal Kapadia’s rise in Indian cinema has been nothing short of remarkable. After graduating from the Film and Television Institute of India (FTII), she quickly established herself as a director with a distinctive voice and a commitment to exploring unconventional narratives. Her previous films, such as A Night of Knowing Nothing—which also garnered critical acclaim—showcased her ability to blend personal and political narratives seamlessly. In All We Imagine as Light, Kapadia takes these themes to new heights, crafting a film that is both deeply personal and universally relevant. Her ability to capture the emotional nuances of her characters while simultaneously commenting on broader societal issues sets her apart from many of her contemporaries. Kapadia’s work is often described as meditative, and All We Imagine as Light is no exception. The film invites viewers to sit with the discomfort of uncertainty, much like the characters in the film, who are constantly negotiating their place in a world that seeks to erase them. For Kapadia, the Oscar-qualifying run represents a new chapter in her already illustrious career. While the film’s success at Cannes has certainly raised expectations, the road to the Oscars is fraught with competition from around the world. However, given the film’s critical acclaim and Kapadia’s growing reputation as a filmmaker to watch, All We Imagine as Light stands a strong chance of making it to the final nomination list. The film’s Oscar campaign will likely focus on its artistic merit, its exploration of timely issues such as gender and identity, and Kapadia’s unique directorial style.
