‘All We Imagine as Light’ gets Golden Globes’ nods: A film India doesn’t deserve but surely needs

The film’s journey to Cannes was supported by European co-producers who believed in its artistic potential. This isn’t a new phenomenon. From Satyajit Ray to Ritesh Batra, and more recently Shaunak Sen, many of India’s most acclaimed filmmakers have relied on international backing to bring their visions to life. Kapadia joins this lineage, her success a bittersweet reminder of what Indian cinema can achieve when given the right platform.

Only one question echoed in my mind while stepping out of the theatre. How did we not choose this film as our official Oscar entry? Instead, the jury – a panel composed entirely of men – chose Laapataa Ladies. I say this not to take away anything from Kiran Rao’s breezy film, the brilliant performances in it, or what it has achieved in terms of box-office and critical acclaim, but I feel it lacks the gravitas, nuance, and poetic resonance of Kapadia’s work. My qualm is that this selection shows the systemic inability to value films that challenge conventions and embrace complexity.

Payal Kapadia’s cinematic triumph

All We Imagine as Light is a film that India needed, even if it didn’t deserve it. Through the intertwined lives of Prabha, a nurse longing for her distant husband; Anu, a receptionist entangled in forbidden love; and Parvaty, a cook grappling with urban displacement, Kapadia tells poignant stories of human resilience and vulnerability. These narratives unfold against the ever-shifting backdrop of Mumbai, where the city itself emerges as a pulsating, dynamic character, and its neon-lit nights, a canvas for dreams and despair alike.

The film’s visual brilliance is undeniable. Cinematographer Ranabir Das captures Mumbai’s dichotomies with precision—gleaming skyscrapers standing starkly against crumbling chawls, moments of profound silence juxtaposed with the city’s perpetual chaos. The interplay of light and shadow becomes both a visual delight and a metaphorical thread, mirroring the characters’ struggles to find meaning in a world that often marginalises them.

One moment from the film stands out – when Parvaty, looking up at a towering skyscraper, says: “Aisa oocha oocha tower bana ke, ek din yahi log bhagwaan ban jaayenge (Building such highrises, these people will become God some day).” The line is more than just a critique of urban elitism—it’s a reflection of how disconnected decision-makers can be from the ground realities of those they claim to represent. This sentiment resonates with the Oscar snub: a jury perched in their own metaphorical towers, dismissing a film that so vividly captures the lives of ordinary people while favouring safer, more palatable choices.

The state of Indian cinema

Indian cinema stands at a crossroads. Increasingly, the industry prioritises box office returns over storytelling, leaning heavily on sequels, remakes, and franchise formulas. This pursuit of marketability over creativity has stifled originality, with studios opting for “safe bets” driven by nostalgia and star power rather than bold narratives.

When All We Imagine As Light released in theatres across the country, Kapadia herself had spent days pleading with audiences and multiplex owners on X to ensure her film was screened in its correct aspect ratio—a basic artistic standard that many cinemas seemed ready to ignore. In a few days of its release, the film faced another blow when the producers of Pushpa 2 allegedly leveraged their influence to ensure an overwhelming number of show slots in multiplexes. This resulted in All We Imagine as Light being pushed out of prime slots and, in some cases, being removed entirely.

The outcry from the film community, however, was palpable. Filmmaker Vikramaditya Motwane and several others publicly condemned this move, highlighting how even critically acclaimed films with global recognition struggle to find a place in their own country when pitted against commercial juggernauts. Their voices added to the growing frustration about how the industry prioritises blockbuster spectacles over meaningful cinema, regardless of international accolades or cultural significance.

Kapadia’s film still lingers in my thoughts as a reminder of what Indian cinema can achieve when it dares to dream. All We Imagine as Light has already secured its place in global cinema. It’s time for India to catch up and embrace the brilliance it offers.