You would think that when a film wins the second biggest award — the Grand Prix at the Cannes Film Festival — it means success. Payal Kapadia, whose All We Imagine as Light won the award this year, begs to differ. "I was afraid nobody would distribute my film in India," she admits. "Independent films rarely get theatre distribution—most end up on OTT platforms. So, getting it into cinemas was a huge achievement for me, and that’s a true joy for any filmmaker," she further shares, as the film recently had a limited theatrical release by Rana Daggubati's Spirit Media in Kerala.
In this conversation, Payal Kapadia speaks along with Rana Daggubati about All We Imagine as Light's limited theatrical release, winning the Cannes award, and more
Rana, how did you decide to distribute this film?
Initially, the team at Spirit Media brought this project to my attention right after Cannes. I was worried that I had to learn about a film made in India, all the way from France. The team quickly connected with Payal, and things fell into place. At Spirit, our goal is to discover fresh stories and new voices, pushing the boundaries of mainstream storytelling. This film perfectly embodies that mission. It’s genuinely pan-Indian and independent, resonating with audiences regardless of where they are in the country. I was truly impressed by Payal’s storytelling ability and remarkable performances. It captures a familiar Bombay yet has never been presented in this unique way. These are just a few of the reasons I decided to get involved
Payal, you're known to mix documentary filmmaking styles with that of feature filmmaking. Were the initial five minutes of All We Imagine As Light deliberately shot in documentary style?
For the past two years, I’ve been conducting long interviews, whether or not they make it into the film. I documented everything through audio, creating an archive. I interviewed everyone who resonated with the story. I had a lot of material, but since many of the conversations were two hours long, cutting them down was difficult. Sometimes, we’d revisit interviews or get others’ perspectives, reworking and occasionally re-recording parts to be more precise. Though these interviews only make up the first few minutes of the film, it was important to be both concise and authentic.
Rana, what are your earliest experiences in Mumbai? What does the city mean to you now?
When I first arrived in Bombay, it felt like a completely different world. Having grown up in Chennai and Hyderabad, this city was new and full of energy, and there was a sense of romance in that first year. But, Bombay is a tough place to live, and even harder to shoot in. It feels like home, but not quite. It has everything a home offers, but it’s the people who truly make it dynamic and vibrant. I don’t have nostalgia for old Bombay, but I’ve met incredible people here. Payal beautifully captured the city's complexity.
Payal, it was interesting that you avoided all the cliche landmarks to establish Mumbai. Were you also clear about not showing the city in a melancholic light, given the issues the film discusses?
Well, the train is definitely a landmark. But, no place can be reduced to just one thing. Bombay offers both joy and challenges. It gives us the freedom to roam the streets at night, eat kebabs, enjoy pani puri—it's a city of delight as much as it is of difficulty. That’s the essence of cosmopolitan life—diversity. You can hear Malayalam on the train or a dialect of Sindhi, creating moments of alienation or privacy when people speak in languages only a few understand. For me, that’s Bombay. I don’t have nostalgia for its past or present, but I do see how difficult the city is, especially with the ongoing gentrification in central Mumbai. These are the things I’ve observed over the years.
Rana, how do you think the common audience will enjoy an independent film like this?
In India, the term 'common audience' refers to a vast number of people, larger than the population of countries like France. But, the real challenge isn’t reaching that broad audience—it's finding the niche within it. How do we communicate to this group that this film is different from the usual Friday releases? It’s something more unique. That’s the first hurdle because once they watch it, they’ll love it. For example, during the limited release in Kerala, the first two shows sold out in two minutes on BookMyShow. There's clearly an energy around the film. Kerala’s audience is more open to independent cinema than most, so it was the perfect place to start. As we learn how to communicate this better, it will reach a wider audience. This film can’t follow the usual mainstream approach of teasers, trailers, and big promotions. It requires a different strategy.
Payal, now that you've won the Grand Prix, what is your next milestone?
My next milestone is simply to make my next film. The greatest joy is being able to make films, and I think most filmmakers would agree. It’s truly a privilege—so many people don’t get that opportunity. I feel like I have to keep going, and the fact that I can is something I’m deeply grateful for. That’s the only plan moving forward: to keep making films.
Payal, your film's underlying message is about women supporting other women. With the recent Hema Committee report, how important do you think it is for sisterhood in any industry?
I think it’s amazing what they’ve achieved with the WCC in Kerala, especially with the Hema Committee report. Because everyone has come together, we can hope for meaningful structural change. This isn’t just about film; it applies to every industry. In India, women need larger social changes to thrive. Supporting one another is essential. There’s something magical about sisterhood.