All We Imagine as Light is one of those films where it feels like not much is going on, but it’s actually loaded with deep themes. It explores friendship, isolation, class and religious divides, against the vibrant backdrop of Mumbai. Granted I am not well-versed in Indian cinema or films set in Mumbai, but this film immediately transports me to the hustle and bustle of the highly populated city of over 12 million people. You can hear the chatter of unnamed locals discussing how city life can be both energizing and draining. Many of them have traveled from far-off villages, even leaving their families behind, all in pursuit of a better life. Writer/director Payal Kapadia was born in Mumbai, so it seems she know it well, giving us insights into the city in a personal way.

It may be clichéd to say that a city is like a character in a film but that’s definitely the case with Mumbai here. The setting actually reminds me of my hometown Jakarta when I see men with stack of crates on the sidewalk, elderly women selling food in open-air markets, crazy traffic with cars, motorbikes, food rickshaw on wheels, etc. all packed together. Smog from polluted car emissions fill the air, it’s so visceral I felt like I couldn’t breathe as I’m watching. It’s in this environment that we meet Prabha and Anu on a muggy evening in Mumbai.

The two roommates work as nurses  at the same clinic, the older one Prabha (Kani Kusruti) is a head nurse while Anu (Divya Prabha) is just starting out in her career.  Their personalities are like night and day, which creates an interesting dynamic. Prabha is more reserved, introspective and dutiful, while Anu is vivacious, a little flirty, and spontaneous. Initially, I assumed Prabha was Anu’s older sister because she handles the household tasks and, would even help cover Anu’s rent when asked. The sisterly bond reminds me a bit of Jane Austen’s Sense & Sensibility, with the sensible Prabha akin to Elinor and Anu the impetuous Marianne.

As we get to know them a bit more, we find out that both women came from the southern state, leaving their family behind in Kerala, but not their past. A mysterious package arrives one day, a rice cooker sent from Germany from Prabha’s estranged husband who rarely contacts her. Their marriage is practically non-existent, yet the emotionally-detached Prabha can’t bring herself to start anew. Even as a doctor at her clinic (Azees Nedumangad) tries to woo her, she rebuffs his advances. Prabha explains to Anu that it’s an arranged marriage, which is pretty typical in India, and that’s exactly what Anu is trying to avoid. But she’s got her own dilemma since Shiaz (Hridhu Haroon), the guy she’s dating, is a Muslim. Throughout the movie, Anu and Shiaz are on a mission to find a private spot to connect, but it turns out to be way harder than they expected.

Meanwhile, their older colleague Parvaty (Chhaya Kadam) is being pushed out of her long-time apartment by some greedy developers. I had just seen Kadam in Lost Ladies, so it’s great to see her in another female-fronted movie. The struggle with gender inequality is really evident here; she was widowed not too long ago, and apparently, any property rights she had vanished with her husband. Prabha steps in to help, and they even consult with a lawyer who appears to be from a much higher caste, though it leads nowhere. Parvaty decides to return to her coastal village, and Prabha and Anu join her to help out.

The serene seaside village is quite a shock to the senses. The sunny beaches and lush nature are such a contrast to the dreary and grimy big city. As Parvaty strives to start fresh, the coastal visit becomes a key turning point for all three women. I think we’ve all wondered at one point or another whether we belong in a place we live in. As an immigrant, I can certainly relate to that and some people have become accustomed to straddling two worlds with their own set of expectations.

Kapadia focuses more on delving into emotions and character development rather than crafting a sharply defined narrative. It feels like a mood piece, an understated tribute to the often-overlooked Indian working-class women. The pace can drag a bit, it can even feel lethargic to some, but that’s perhaps because movies are becoming more and more action-packed these days. I find it engaging overall and I have a soft spot for stories of female friendships.  Each woman carries a deep, repressed desire for love, recognition, and a place to call home. Kapadia’s direction and minimalist vibe feels modern, with evocative visuals by DP Ranabir Das and melancholy jazzy score by Dhritiman Das.

Kapadia not only dives into the issues of class and religion but also makes a statement about women’s sexual freedom. While the love scene and brief nudity is tame by western cinema’s standard, it causes quite a stir in India. I for one think the film is shot with a sensitive female lens, and the scenes fit with the themes of human desire. In a year filled with outstanding global cinema, All We Imagine as Light stands as one of the best.

Have you seen All We Imagine as Light? I’d love to hear what you think!

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