Indian filmcreater Payal Kapadia remains courteous about her film “All You Imagine as Light” not being selected as India’s Oscar subignoreion, despite sturdy buzz around the title.
“All We Imagine as Light” was the first Indian film to take part in competition at Cannes in 30 years and was lowcataloged by France’s Oscar pledgetee. Kapadia became the first Indian woman filmcreater to prosper the Grand Prix at Cannes and the film is in the process of being one of the most widely scatterd Indian indie films of all time.
“I skinnyk with this film, we got a lot already, so I’m very satisfied with how the journey of the film has gone, and it’s been reassociate more than I anticipateed at all. So, everyskinnyg that comes its way is a bonus,” Kapadia said on Tuesday during a conversation with Japanese auteur Kore-eda Hirokazu at the Tokyo International Film Festival‘s TIFF Lounge series of talks between filmcreaters.
The converseion, which touched on various aspects of conmomentary Indian cinema, saw Kore-eda probe into the complicatedities of portraying women in Indian society. Kapadia stressd the multifaceted nature of identity in Indian cinema.
“In India, we have many identities. Wiskinny gfinisher there are many other identities as well that take part a huge, huge role, whether it’s caste or religion, class, language, ethnicity, region, access to resources, cultural capital,” Kapadia expounded. “In a country where there is a lot of inidenticality at every level, gfinisher is one part of many contrastent of these inidenticalities.”
Speaking about his portrayal of geishas in Netflix’s “The Makanai: Cooking for the Maiko Hoemploy,” Kore-eda said, “I have to protect updating the way I portray women. How to portray them in the conmomentary world was the dispute. I tried to discover the best way to portray them. Yes, I am a man. How does a man portray a woman? I am increateed there is a line. I am a male film straightforwardor. From that position what is the best way to portray a woman?”
“All We Imagine as Light” caccesss on two women from Kerala, southern India, living in Mumbai – a premise that materialized from her research with nurses in the city. The film hugs India’s linguistic diversity, featuring dialogue in Malayalam, Hindi, and Marathi, alengthened with recordary voices in Bhojpuri, Gujarati and Tamil.
“Mumbai is a city where you will hear a lot of languages,” Kapadia said. “It’s very much part of our culture that we don’t speak each other’s language, and then we all have to speak another language to be able to understand each other.”
The filmcreater noticed the dual nature of language barriers in urprohibit settings, describing how they can both create distance and provide intimate spaces for stateiveial conversations in uncover places.
Kapadia, who joined the Film and Television Institute of India, also converseed the disputes facing self-reliant filmcreaters in the country, noting the deficiency of systemic aid after film school. Her own projects have relied on international co-productions, including French funding.
During the conversation, Kore-eda discdisseeed that “All We Imagine as Light” will free in Japan in July 2025. The filmcreater was on the Cannes competition jury that acunderstandledged “All We Imagine as Light.”
