“Breaking Boundaries: The Trailblazing Rise of Kani Kusruti, India’s Fearless Actress Revolutionizing the Film Industry”

Title: The Ethereal Realms of “All We Imagine As Light”: A Conversation with Director Payal Kapadia and Cinematographer Ranabir Das

Introduction
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In the world of Indian cinema, there are few films that transcend the boundaries of conventional storytelling, inviting audiences into a realm that can only be understood through experience. One such film is Payal Kapadia’s “All We Imagine As Light”, a cinematic masterpiece that delves into the themes of love, loss, identity, and self-discovery, set against the vibrant yet isolating backdrop of Mumbai. The film’s stunning combination of magical realism and grounded storytelling has garnered widespread acclaim, leading to a plethora of prestigious awards on the international festival circuit.

In this exclusive interview, we sat down with film director Payal Kapadia and cinematographer Ranabir Das to discuss the making of “All We Imagine As Light” and the challenges of bringing this ambitious project to life.

Q: Congratulations on the incredible win for “All We Imagine As Light”. The past few days must have been a whirlwind of emotions, from press engagements to screenings, culminating in this well-deserved triumph. How does it feel to see all the hard work and passion behind this film being celebrated on such a grand stage? Has the magnitude of this achievement truly sunk in yet?

A: Payal Kapadia: It’s been really more than we ever imagined for the film. When we were in Cannes, it already felt so big. Every time something else happens, we feel like we want to pinch ourselves. We worked on the film for a long time – especially the two of us, Payal and Ranabir Das, since we write together as well. It’s been a project we’ve worked on, on and off, for almost six or seven years, and intensely over the past four years. Sometimes, you feel like it’s over, and that itself feels so weird.

Q: The city of Mumbai plays a significant role in your film. How did you approach portraying Mumbai not just as a setting but as a character in itself, with its own heartbeat and stories?

A: Payal Kapadia: I think it’s because, you know, when you make a film – or at least when I make a film – it’s kind of like a reaction to your surroundings. What forces itself into the film is something that concerns you or something you see all the time, and you get bothered by it. The contradictions of Mumbai, I think, are very much part of our daily life. For the past few years, we have been living here together. On one side, you see everybody moving to this city – especially in the film industry – because all our friends from FTII also moved to Mumbai. In some senses, it’s kind of liberating because you have your own kind of freedom here to do things. But it’s also a city that can be very cruel. It’s a very expensive city, not very comfortable to navigate or travel in every day, considering the amount of time it takes. There is also constant gentrification taking place. It’s a city that’s always in a state of change because the people who come with a lot of difficulty can also be very easily made to leave. We especially saw that during the COVID time. It’s also a city that is geographically changing because it’s like an island city that became attached to the peninsula. And now, land reclamation is also taking place. So even physically, the city is like an amoeba. I was very interested in all these things about the city, and some of it makes us very angry also.

Q: The shift from the bustling urban landscape of Mumbai to the serene coastal village marks a significant tonal change. How did you conceptualize this transition, and what does it signify in the larger context of the story?

A: Ranabir Das: Well, on some levels, it’s very basic. Like, we just wanted a shift, a change in season. Yeah. A little bit of time has gone by between the previous events and what is to follow. In that sense, the first half is very cloudy, and the second half is very bright sun. The color palette also shifts in the process. But we wanted the second half to have a slightly different feeling of time as well. We wanted it to be just one long day, this entire second half. So we wanted to feel the time a little bit more. We wanted to be a little closer to the characters.

Q: What’s the type of village, but our intention at least was to somewhere avoid looking at that too much, okay, and being with the character. Yeah, like that’s why most – at least what we tried, I don’t know how much of it came through – a lot of time, Riku would bleach out some of the background when it was a very wide shot, for example, because the sunlight would not kind of, you know, just stick to that cliche of a pretty place. Something that, you know, that heat – I don’t know if you are from Delhi, but I guess in Delhi also, in the summer, that very top sun is like, it’s not very pleasant. So that feeling, we wanted to kind of get. I think, yeah, because Mumbai looks so different, I think that contrast has been much.

Q: Cinephiles and critics are always on the lookout for innovative storytelling and cinematic techniques. In your film, how do you feel the use of magical realism and surreal imagery contributes to the overall narrative?

A: Payal Kapadia: I think it’s because, for us, it’s not just about having an umbrella or something and suddenly, it’s raining. No, it’s about capturing the essence of a feeling. We wanted to create a world where people could get lost, where people could find themselves. We wanted to create a world where people could experience something that’s not just a narrative, but an emotion. And I think that’s what magical realism and surreal imagery do. They create a world where anything can happen, and it’s not just about what’s happening around us, but what’s happening inside us.

Q: What’s next for you, Payal and Ranabir? Are you working on any new projects or collaborations?

A: Payal Kapadia: We are actually working on a new project, a short film, but it’s still very, very early days. It’s still an embryo. We are also talking about a feature film, but that’s also very early days. We are just trying to find the right story, the right tone, the right atmosphere. We are just taking our time.

FAQs
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* What is the significance of the title “All We Imagine As Light”?
The title is inspired by a quote by Sri Aurobindo Ghosh, an Indian philosopher, and mystic, who said, “All we imagine as light is but a shadow of the Reality.” The film’s title is a metaphorical representation of the protagonist’s inner world, which is always trying to grasp and make sense of the world around him, in an attempt to find meaning and purpose.

* What inspired the film’s use of magical realism and surreal imagery?
The use of magical realism and surreal imagery is a deliberate choice to create a world that is not bound by the laws of reality, but by the laws of the human experience. It’s an attempt to capture the essence of the human condition, to create a world that is both familiar and yet, utterly strange.

* What is the significance of the city of Mumbai in the film?
Mumbai is not just a setting for the film; it’s a character in itself. The city is a symbol of the protagonist’s inner world, a place where he struggles to find himself amidst the chaos and contradictions of modern city life.

Conclusion
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“All We Imagine As Light” is a cinematic masterpiece that transcends the boundaries of conventional storytelling, inviting audiences into a world that is both familiar and yet, utterly strange. Payal Kapadia and Ranabir Das’s collaboration has resulted in a film that is not just a work of art, but an experience. With its innovative use of magical realism and surreal imagery, the film is a testament to the power of human imagination and creativity. As we continue to follow the journey of this talented duo, we can only expect to be taken to new and unexplored territories of cinematic storytelling.Title: A Candid Conversation with the Makers of “All We Imagine As Light”

In this exclusive interview, we sat down with Payal Kapadia and Ranabir Das, the makers of the critically acclaimed film “All We Imagine As Light”. The duo shared their unique approach to filmmaking, delving into the inspirations behind their latest project, and the challenges they faced in bringing it to life.

The film, which premiered at the 2024 International Film Festival, has been praised for its poignant portrayal of the struggles faced by migrant workers in Mumbai. Kapadia and Das, who are both known for their documentary-style approach to filmmaking, discussed how their background in documentary filmmaking influenced their storytelling.

“We’re very process-driven filmmakers,” said Kapadia. “We spend a lot of time researching, location scouting, and talking to people. While doing that, we get a lot of different stories from people, and we want to keep the essence of those conversations in the film.” Das added, “We also felt that blending documentary-style elements with fiction gave us a way to treat the story like it’s just one of many floating around, and we’re delving into one of them. It makes the fiction feel more real.”

One of the film’s most striking aspects is its use of language. The majority of the dialogue is in Malayalam, reflecting the reality that many nurses in Mumbai come from Kerala. Kapadia, who didn’t grow up speaking the language, discussed the challenges she faced in authentically portraying the linguistic and cultural context.

“I had to spend extra time to get this right,” she said. “But I had Robin Joy and Naseem, my dialogue writers, who are both from Kerala and also filmmakers. We worked on rewriting the dialogues to make sure they sounded authentic and captured the nuances of the Malayalam-speaking characters.”

The film is also dedicated to Kapadia’s grandmother and a friend who is a nurse. Kapadia shared how her grandmother’s story, which involved her husband appearing in her dreams after he passed away, inspired the film’s themes of femininity and identity.

“For me, my grandmother’s story has been a nagging string for all my films so far,” she said. “I was thinking a lot about how, in India, we have to look at our feminism in a way that keeps these kinds of things in mind. Like, these lingering men who we don’t want to define us, but they’re there. And that’s kind of what this film is about.”

The film’s cinematography, handled by Das, was also a topic of discussion. Das explained how he used visual techniques, such as lighting, to capture the emotions and struggles of the characters.

“It’s not only about what a character is feeling or going through at the present time, but also about the larger vision of how a director wants the story to be told,” he said. “I make a conscious effort to be as true and honest to the essence of that project as possible.”

Overall, “All We Imagine As Light” is a powerful and poignant film that sheds light on the struggles faced by migrant workers in Mumbai. Kapadia and Das’s unique approach to filmmaking, which blends documentary-style elements with fiction, adds depth and nuance to the story. The film is a testament to the importance of authentic storytelling and the impact it can have on audiences.

FAQ:

Q: What inspired the film’s themes of femininity and identity?
A: Payal Kapadia’s grandmother’s story, which involved her husband appearing in her dreams after he passed away, inspired the film’s themes of femininity and identity.

Q: How did the filmmakers approach the challenge of authentically portraying the linguistic and cultural context of the Malayalam-speaking characters?
A: Kapadia worked with dialogue writers Robin Joy and Naseem, who are both from Kerala and also filmmakers, to rewrite the dialogues to make sure they sounded authentic and captured the nuances of the Malayalam-speaking characters.

Q: What visual techniques did Ranabir Das use to capture the emotions and struggles of the characters?
A: Das used lighting and other visual techniques to capture the emotions and struggles of the characters, with a focus on ensuring that the character’s journey, emotions, and experiences resonated with the overall narrative and the director’s creative vision.

Conclusion:

“All We Imagine As Light” is a powerful and poignant film that sheds light on the struggles faced by migrant workers in Mumbai. Kapadia and Das’s unique approach to filmmaking, which blends documentary-style elements with fiction, adds depth and nuance to the story. The film is a testament to the importance of authentic storytelling and the impact it can have on audiences.**The Politics of “All We Imagine As Light”**

“All We Imagine As Light” is a deeply political film that has been making waves in the film industry. The film’s creators, Ranabir Das and Payal Kapadia, have been open about the film’s political themes and the challenges they faced in bringing it to the big screen. In a recent interview, they discussed the film’s politics, the challenges of independent filmmaking, and the importance of supporting small films.

The film’s politics are deeply rooted in its exploration of themes such as identity, community, and social justice. The film’s protagonists are a group of young people who are struggling to find their place in the world, and their stories are woven together to create a powerful exploration of the human experience.

Despite the film’s political themes, Das and Kapadia have been frustrated by the lack of attention it has received from critics and audiences. They have been vocal about the challenges of independent filmmaking, including the lack of funding and support for small films.

“We’ve tried to include some elements that are more directly political, but everything else also becomes something to interpret and understand,” Das said. “Ultimately, everyone will have their own interpretation.”

Kapadia added, “I think some things are so deeply rooted for us, like the context of the papers and the relationship, or some of the little things we’ve kept in the film that we haven’t even subtitled. I feel like there’s always this balance between explaining things and allowing people to feel them.”

**FAQ**

Q: What are the political themes of “All We Imagine As Light”?
A: The film explores themes of identity, community, and social justice, and is deeply rooted in its exploration of these themes.

Q: What are the challenges of independent filmmaking?
A: Independent filmmakers often face challenges such as lack of funding and support, and difficulty in getting their films seen by a wider audience.

Q: How did Rana Daggubatti’s involvement in the film affect its distribution and marketing?
A: Rana Daggubatti’s involvement in the film helped to bring attention to it and provided a boost to its distribution and marketing efforts.

**Conclusion**

“All We Imagine As Light” is a powerful and thought-provoking film that explores themes of identity, community, and social justice. Despite the challenges of independent filmmaking, Das and Kapadia have brought their vision to life, and the film is a testament to the power of independent cinema.**Navigating the Challenges of Securing Funding for Independent Films in India**

In a recent conversation, Payal Kapadia, the director of the critically acclaimed film “All We Imagine as Light”, shared her experiences navigating the challenges of securing funding for independent films in India. Kapadia, along with her co-director Ranabir Das, discussed the journey of bringing their film to life, from initial rejections to finding the right producers and collaborators.

**The Importance of Finding the Right Producers**

Kapadia emphasized the significance of finding producers who believe in the project and can help shape it into a reality. “A producer isn’t someone who has their own money or a company with funds, but rather, they are the ones who can shape your project in a way that allows you to secure funding from other sources,” she said. Das added that finding the right producers can make all the difference, as they can provide motivation and support throughout the filmmaking process.

**The Evolution of the Script**

Kapadia shared that the script for “All We Imagine as Light” underwent significant changes over the years. Initially, she had envisioned the film as a 20-minute short, but as she delved deeper into the story, she realized it needed to be a feature film. She worked on the script, left it, and came back to it multiple times, eventually casting Kani Kusruti as Anu. Kapadia also mentioned that she had initially thought of Divya as Prabha, but Kusruti’s performance in the film “Declaration” convinced her to cast her as Anu instead.

**Blending Realism and Fantasy**

The film’s use of magical realism and lyrical elements in the second half was a deliberate choice to explore the inner worlds of the characters. Kapadia explained that she wanted to transition from a day-in-the-life style of city people to a more internal, intimate approach, using magical realism to express desire and longing. She drew inspiration from folk tales and Sangam poetry, which often use nature to talk about longing and the human experience.

**Conclusion**

Securing funding for independent films in India can be a challenging and unpredictable process. However, with the right producers, collaborators, and a clear vision, it is possible to bring a film to life. Kapadia’s journey with “All We Imagine as Light” serves as a testament to the power of perseverance and creativity in the face of adversity.

**FAQs**

Q: What was the most challenging part of securing funding for “All We Imagine as Light”?

A: Payal Kapadia: “Initially, it was a bit scary because we didn’t actually know if the film would ever get made. But our producers gave us some amount of confidence, and we faced a few rejections as well.”

Q: How did you come up with the idea for the film?

A: Payal Kapadia: “I had written about two pages of a concept for the film, a loose idea about two friends who were nurses. But I hadn’t done much research at that time. It was just a basic thought, and I wanted to make a 20-minute film about it.”

Q: What inspired the use of magical realism in the second half of the film?

A: Payal Kapadia: “I was thinking about how to express desire, as in our society, it’s not something you talk about. How do you say ‘I love you’ in English? How do you say it if you haven’t said it yet? It’s difficult. I wanted to find a language in our own way to talk about certain things, and this seemed to be the right way, a magical one.”

**Conclusion**

In conclusion, securing funding for independent films in India requires a combination of creativity, perseverance, and the right collaborators. Payal Kapadia’s journey with “All We Imagine as Light” serves as a testament to the power of filmmaking in bringing complex stories and characters to life.