All Alce Imagine as Light, 2024, France, India
Directed By: Pa Modulal Kapadia
Language: Malayalam, hindi
Starring: Kani Kusruti, Div Aluta Prabha, Chha Aluta Kadam, Hridhu Haroon, Azees Nedumangad
drama, 01h55min
In crowded and chaotic Mumbai, the stories of three women of different generations are intertwined: Prabha, who has not been contacted by her husband from Europe for more than a year, one day receives an unexpected gift in the mail; her young roommate Anu is looking for a corner where she can be intimate with her Muslim boyfriend; Prabha's friend Parvati, after her …
Trailer : https://www.youtube.com/watch?v=G4oU5pYknU4
The feature-length debut of Pa 6tal Kapadia, winner of the Cannes Grand Jury Prize, is the first Indian film in thirty years to enter the competition program of the festival.
Pre-sale of tickets: Alga Gallery.
criticism
"/.../beneath the surface of the story, which brings to the fore the loneliness in the midst of a never-sleeping city and the hardships of Independent Women in modern India, political themes that touch upon arranged marriages, the impossibility of love between individuals of the Hindu and Muslim faiths, and the diminished rights of widowed women are constantly quietly smoldering. An emotional and sensual film experience.«
Veronika Zakonjsek, Diary
"Right from the movie the miracle of life, in which you can find some of the humanist poetry of the Satyajita Raya and Out Yanga. This is all the more remarkable because it is the director's first feature /.../. What a talent!«
- The Guardian, The Guardian
"The elegant film, however, by the way, "modal Kapadia" ultimately reveals itself to be what it really is: a hymn to the power of intergenerational sisterhood. The Film ends not with fireworks, but with the most tender and satisfied sigh – both the characters and ours. Those moments of the cityscape that opened the film can now be put in contrast and feel that the destination we arrived at at the closing credits / ... / is a universe far away. But the path to this feeling, thanks to the director's divine film, is much richer than one could ever imagine.«
- David Fear, Rolling Stone
"We've seen City Symphonies many times in the cinema, but the film Pa modual Kapadia is much more thought-provoking and intimate. Let's call it a city Nocturne or a city whisper.«
- Bilge Ebiri, Vulture
"It's a film that feels like a long exhalation; a moment of calm after a tight hug. Beautiful.«
- Clarisse Loughre / Independent
"The fact that it is the first Indian feature film in almost three decades to be selected in the competition schedule of the Cannes festival makes a big enough impression; its subtlety and sensuality are the reason for a real celebration.«
- Justin Chang, The NE Animatorker
"Borges once described Blake's thought: if sight, type and hearing did not interfere so much in our relationship with the world, we would appreciate things as they are – infinite. ’ Let's look at the world without being blinded by our eyes, ' could be the motto of the manifesto. And this is, in a way, the game that the Indian Pa modual Kapadia offers us. / ... / All shades of light speak of desire, passion, eternal disappointment, love, as well as emancipation and women who find themselves, stand up and face their fears. The Film navigates the screen like a kind of Dream dreamed with open eyes; he is constantly aware of what is shown, but at the same time he is very attentive to the other side. It is a deeply sensual work, but one that conjures up serenity, eternity; that Infinity that only the back of the eyes, ears and other senses are capable of appreciating.«
- Luis Mart Changnez, El Mundo
"Apart from Miguel Gomes' magnificent Travel Film Grand Tour, this was the only work in the competition program [of the Cannes festival] that really awakened my senses. / ... / Pauline Kael once remarked that melodrama is’ the main driver of political thought in our films'. She may have written about some of the American classics of the forties, but the thought could easily be transferred to the present film, which uses the genre to accuse the systemic forces that the heroines face, and at the same time conjures up a stunningly empathetic finale for the protagonists. With the closing clip / ... / the festival came closest to a moment of pure transcendence.«
- Leonardo Goi, Notebook
"However, in her short career, which includes only two feature films, Kapadia has shown a rare talent to find moments of noble poetry in the banal prose of Indian everyday life.«
- Jessica Kiang, Variety < Br >
"Feature the debut of a talented dokumentaristke allows you to recall the memory of the work of the Lucrecie Martel, and Alice Rohrwacher, but there's also a strong romantic note, which, you remember the great love affair of Wong Kar Waija from hong kong.«
- Fionnuala Halligan, Screen Dail
All We Imagine as Light, 2024, Francija, Indija
Režija: Payal Kapadia
Jezik: malajalščina, hindi
Igrajo: Kani Kusruti, Divya Prabha, Chhaya Kadam, Hridhu Haroon, Azees Nedumangad
drama, 01h55min
V natrpanem in kaotičnem Mumbaju se prepletejo zgodbe treh žensk različnih generacij: Prabha, ki se ji mož že več kot leto ni oglasil iz Evrope, nekega dne po pošti prejme nepričakovano darilo; njena mlada sostanovalka Anu išče kotiček, kjer bi lahko bila intimna s svojim muslimanskim fantom; Prabhini prijateljici Parvati po moževi smrti grozi izselitev iz stanovanja, v katerem je živela več kot dvajset let …
Napovednik : https://www.youtube.com/watch?v=G4oU5pYknU4
Igrani prvenec Payal Kapadia, dobitnik velike nagrade žirije v Cannesu, je prvi indijski film v tridesetih letih, ki se je uvrstil v tekmovalni program festivala.
Predprodaja vstopnic : Galerija Alga.
kritike
»/…/ pod površjem zgodbe, ki v ospredje postavlja osamljenost sredi nikoli spečega mesta ter tegobe neodvisnih žensk v moderni Indiji, ves čas tiho tlijo politične teme, ki se dotikajo dogovorjenih porok, nemogoče ljubezni med posameznikoma hindujske in muslimanske vere ter okrnjenih pravic ovdovelih žensk. Čustveno in senzualno filmsko izkustvo.«
– Veronika Zakonjšek, Dnevnik
»Pravi filmski čudež, v katerem lahko najdemo nekaj humanistične poezije Satyajita Raya in Edwarda Yanga. To je še toliko bolj izjemno, ker gre za režiserkin prvi igrani celovečerec /…/. Kakšen talent!«
– Wendy Ide, The Guardian
»Elegantni film Payal Kapadia se nazadnje razkrije kot tisto, kar v resnici je: hvalnica moči medgeneracijskega sestrstva. Film se ne konča z ognjemetom, ampak z najbolj nežnim in zadovoljnim vzdihom – tako likov kot tudi našim. Tiste trenutke mestne pokrajine, ki so odprli film, je zdaj mogoče postaviti v kontrast in začutiti, da je destinacija, na katero smo prispeli ob zaključni špici /…/, vesolje daleč. Toda pot do tega občutka je po zaslugi režiserkinega božanskega filma veliko bogatejša, kot bi si lahko kadarkoli predstavljali.«
– David Fear, Rolling Stone
»V kinu smo že večkrat gledali mestne simfonije, toda film Payal Kapadia je veliko bolj razmišljujoč in intimen. Recimo mu mestni nokturno ali pa mestni šepet.«
– Bilge Ebiri, Vulture
»To je film, ki se zdi kot dolg izdih; trenutek miru po tesnem objemu. Prečudovito.«
– Clarisse Loughrey, Independent
»Dovolj velik vtis naredi že dejstvo, /…/ da gre za prvi indijski celovečerec v skoraj treh desetletjih, izbran v tekmovalni spored festivala v Cannesu; njegova pretanjenost in čutnost pa sta razlog za pravo slavje.«
– Justin Chang, The New Yorker
»Borges je nekoč opisal Blakovo misel: če se vid, tip in sluh ne bi tako vmešavali v naš odnos s svetom, bi stvari cenili takšne, kakršne so – neskončne. ‘Poglejmo na svet, ne da bi nas slepile oči,’ bi se lahko glasilo geslo manifesta. In to je na neki način igra, ki nam jo ponuja Indijka Payal Kapadia. /…/ Vsi odtenki svetlobe govorijo o želji, strasti, večnem razočaranju, ljubezni, pa tudi o emancipaciji ter ženskah, ki najdejo same sebe, se postavijo pokonci in soočijo s svojimi strahovi. Film krmari po platnu kot nekakšne sanje, sanjane z odprtimi očmi; ves čas se zaveda prikazanega, a je hkrati zelo pozoren do druge strani. To je globoko čutno delo, a takšno, ki nam pričara spokojnost, večnost; tisto neskončnost, ki jo je sposobna ceniti le zadnja stran oči, ušes in ostalih čutil.«
– Luis Martínez, El Mundo
»Poleg veličastnega potopisnega filma Grand Tour Miguela Gomesa je bilo to edino delo v tekmovalnem programu [festivala v Cannesu], ki je resnično prebudilo moje čute. /…/ Pauline Kael je nekoč pripomnila, da je melodrama ‘ glavno gonilo politične misli v naših filmih’ . Morda je res pisala o nekaterih ameriških klasikah štiridesetih let, toda misel bi zlahka prenesli na pričujoči film, ki s pomočjo žanra obtoži sistemske sile, s katerimi se spopadajo junakinje, hkrati pa protagonistkam pričara osupljivo empatičen finale. Z zaključnim posnetkom /…/ se je festival najbolj približal trenutku čiste transcendence.«
– Leonardo Goi, Notebook
»Payal Kapadia je v svoji kratki karieri, ki obsega le dva celovečerca, pokazala redek talent, da v banalni prozi indijskega vsakdana najde trenutke žlahtne poezije.«
– Jessica Kiang, Variety
»Igrani prvenec nadarjene dokumentaristke prikliče v spomin dela Lucrecie Martel in Alice Rohrwacher, a tu je tudi močna romantična nota, ki spomni na veliko ljubezensko afero Wong Kar Waija s Hongkongom.«
– Fionnuala Halligan, Screen Daily