The project marks the first Indian film in three decades and the inaugural entry by a female Indian director in the main competition.
Payal Kapadia has made history as the first Indian filmmaker to receive the Grand Prix Award at the Cannes Film Festival 2024 for All We Imagine As Light.
Grand Prix is the festival’s second-most prestigious prize after the Palme d’Or. It was awarded to American director Sean Baker for Anora (2024) during the closing ceremony on the night of Saturday, 25 May.
Payal Kapadia’s All We Imagine As Light marks the first Indian film in three decades and the inaugural entry by a female Indian director in the main competition.
She was presented with the Grand Prix by American actor Viola Davis.
In her speech, Payal Kapadia expressed gratitude to the three main actors of the film—Kani Kusruti, Divya Prabha, and Chhaya Kadam. The director acknowledged that the film would not have come to fruition without their contributions.
“I’m feeling quite nervous, so I wrote something down. I extend my heartfelt thanks to the Cannes Film Festival for showcasing our film. Let’s not wait another 30 years to see another Indian film here,” she said.
Payal Kapadia added that All We Imagine As Light, delves into the essence of friendship, portraying the bond between three distinctly different women.
“Far too often, society pits women against each other, which is unfortunate. However, for me, friendship holds immense significance as it fosters greater solidarity, inclusivity, and empathy,” said the filmmaker, joined on stage by the three actors.
All We Imagine As Light, a bilingual feature in Malayalam and Hindi, centres on Prabha, a nurse, whose life is turned upside down by an unexpected gift from her estranged husband. Meanwhile, her younger roommate, Anu, struggles to find a secluded spot in the bustling city to spend time alone with her boyfriend.
According to the official synopsis, the two nurses embark on a road trip to a coastal town where a mystical forest serves as a canvas for their dreams to materialise.
The film was shot over 25 days in Mumbai, followed by an additional 15 days in the rainy western port town of Ratnagiri.
Payal Kapadia was intrigued by narratives involving women who relocate to unfamiliar environments to pursue employment and achieve financial independence.
This theme resonated with her upbringing in a household dominated by women, where she witnessed firsthand the complexities surrounding financial independence and its correlation with autonomy in Indian society.
She aimed to delve into these complexities within the film, questioning the point at which individuals genuinely attain autonomy over their aspirations and decisions.
Mumbai presents a myriad of contradictions. Precisely, why she chose the city to film All We Imagine As Light.
While it provides greater job prospects for women, Mumbai also presents formidable hurdles such as steep living expenses and arduous daily travel, aspects she sought to integrate into the storyline.
Critics from the West have praised All We Imagine As Light.
According to Variety, “Rarely has a film so eloquently depicted the solitary allure of Mumbai during the nocturnal hours.”
BBC described the film as “universal and emotionally captivating, capable of entrancing anyone who has experienced solitude in a city or been captivated by a film exploring similar themes.”
The Guardian hailed All We Imagine As Light as “magnificent… a captivating narrative brimming with human emotion.”
A unique collaboration between French and Indian filmmakers, the film is a joint effort between the Paris-based producers Hakim and Julien Graff from Petit Chaos, and Zico Maitra from Chalk & Cheese Films, based in Mumbai.
Producer Thomas Hakim stated, “It came as a pleasant surprise, and it’s truly humbling considering the calibre of filmmakers featured in the selection, many of whom I deeply admire.”
Hakim was introduced to Kapadia through her short films showcased at the Berlin Film Festival in 2018, where he immediately recognised her talent and expressed his desire to collaborate with her.
Although he wasn’t clued into Indian culture, Hakim was compelled to work with Kapadia after he caught her short film that “mesmerised” him.
“We explored the concept for a film and our mutual eagerness to collaborate, eventually finding a pathway to make it happen. We found a small spot for such a film to raise money. Meanwhile, we worked on another project, which proved beneficial. We persevered, continually believing in Payal’s vision. Though it was a lengthy journey spanning approximately five years, it was a fulfilling experience,” Thomas Hakim was quoted, as saying.