The director of ‘All We Imagine as Light’ discusses big city lives, urban migration and Mumbai’s violent gentrification
When Payal Kapadia finally took her Cannes Grand Prix-winning film All We Imagine as Light to Mumbai, it felt like a long-awaited homecoming. In the place she calls home, and where the film is set, it opened the Mami film festival in the historic art deco Regal cinema, one of the last remaining single screens in the city. The late October weather was oppressively warm, but it also rained that day, notching up the humidity.
” Kapadia was interested in exploring the intergenerational friendship between the three women and wanted to dissect the question of love and desire in South Asian households. “Prabha’s relationship has this kind of legitimacy because she’s a married woman. But Anu is in love with a boy that nobody will accept. Even though she’s in love, it’s illegitimate,” she says. The secondary character of Parvati grew from Kapadia’s urge to portray Mumbai’s gentrification.
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