All shades of light (all entertain Imagine as Light , France, India, 2024, 115 min.)
An insight into friendship, a relationship that has no real definition.
Directed and written by: Pa Modulal Kapadia
Photo: Ranabir Das
Montage: CL / Pinteau / CL / Pinteau /
Music: Dhritiman Das
Starring: Kani Kusruti, Div Aluta Prabha, Chha Aluta Kadam, Hridhu Haroon, Azees Nedumangad
Produced By: Thomas Hakim, Julien Graff
Festivals, Awards: Cannes (Grand Prix of the Jury); Chicago (Silver hugo – Jury Prize); National Board of Revie 6 (one of the five best international films); Asia Pacific Screen A contactors (Grand Prix of the jury); Ficunam (Audience Award); San Sebastian Altern; Karlovy Vary; Toronto; Telluride; London; Mar del Plata; Ne 6vork; Busan; Viennale; Sarajevo; Mumbai; Liffe; Golden Globe nomination for Best film in non-English and best director
Distribution: Fivia
Genre: romantic drama
Story
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 …
Author's statement
"I wanted to make a film about women who leave their hometown and go to work elsewhere. Mumbai seemed to me the ideal setting for such a story. Another aspect of the city that interested me is its continuous evolution. Due to the real estate boom that we are currently witnessing, some parts are changing at an incredible rate. Investors are constantly appropriating buildings in which people have lived for years and years – often without documents proving their rights. Those who do not have money are evicted. / ... / Anu and Prabha come from the south of India, from the state of Kerala, where many women who work in Mumbai are from home. / ... / Many of them live alone – perhaps not entirely independently, but with a certain degree of autonomy. I find the contradiction between the feeling of independence, emancipation and even feminism and the fact that women remain closely related to their family of Origin very interesting. This continues to control their social behavior, including who they are allowed to love and whom they are allowed to marry. / ... / When creating a documentary, you can shoot the material, start editing it, find out what is missing, and return to filming if necessary. I like to approach feature films in a similar way, although for obvious reasons this is not always possible. / ... / It seems to me that combining the two approaches can greatly enrich the film, and I firmly believe that in this way non-fiction becomes more fiction, and fiction becomes more documentary. And it is in this, in my opinion, that the charm of film art is hidden. / ... / Love is a very political topic in India. Therefore, I cannot say that my film is not political. Choosing a marriage partner is an extremely complex issue in our country. Caste and religion, among other things, greatly influence who you will spend your life with. Impossible love, which is one of the Red Threads of all shades of light , is a very political theme.«
PA Modual Kapadia
Comment
"/.../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 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
Vsi odtenki svetlobe ( All We Imagine as Light , Francija, Indija, 2024, 115 min.)
Vpogled v prijateljstvo, razmerje, ki nima prave definicije.
Režija in scenarij: Payal Kapadia
Fotografija: Ranabir Das
Montaža: Clément Pinteaux
Glasba: Dhritiman Das
Igrajo: Kani Kusruti, Divya Prabha, Chhaya Kadam, Hridhu Haroon, Azees Nedumangad
Produkcija: Thomas Hakim, Julien Graff
Festivali, nagrade: Cannes (velika nagrada žirije); Chicago (srebrni hugo – nagrada žirije); National Board of Review (eden petih najboljših mednarodnih filmov); Asia Pacific Screen Awards (velika nagrada žirije); Ficunam (nagrada občinstva); San Sebastián; Karlovi Vari; Toronto; Telluride; London; Mar del Plata; New York; Busan; Viennale; Sarajevo; Mumbaj; Liffe; nominacija za zlati globus za najboljši film v neangleškem jeziku in za najboljšo režijo
Distribucija: Fivia
Žanr: romantična drama
Zgodba
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 …
Izjava avtorja
»Želela sem posneti film o ženskah, ki zapustijo domači kraj in odidejo delat drugam. Mumbaj se mi je zdel idealno prizorišče za takšno zgodbo. Drugi vidik mesta, ki me je zanimal, je njegova nenehna evolucija. Zaradi nepremičninskega razcveta, ki smo mu trenutno priča, se nekateri deli spreminjajo z neverjetno hitrostjo. Investitorji si neprestano prilaščajo stavbe, v katerih ljudje živijo že leta in leta – pogosto brez dokumentov, ki bi dokazovali njihove pravice. Tiste, ki nimajo denarja, izselijo. /…/ Anu in Prabha prihajata z juga Indije, iz zvezne države Kerala, od koder je doma veliko žensk, ki delajo v Mumbaju. /…/ Številne izmed njih živijo same – morda ne povsem neodvisno, vendar z določeno stopnjo avtonomije. Zelo zanimivo se mi zdi protislovje med občutkom neodvisnosti, emancipacije in celo feminizma ter dejstvom, da ženske ostajajo tesno povezane s svojo izvorno družino. Ta še naprej nadzoruje njihovo družbeno vedenje, vključno s tem, koga lahko ljubijo in s kom se smejo poročiti. /…/ Pri ustvarjanju dokumentarca lahko posnameš gradivo, ga začneš montirati, ugotoviš, kaj manjka, in se po potrebi vrneš k snemanju. Igranih filmov se rada lotevam na podoben način, čeprav zaradi očitnih razlogov to ni vedno mogoče. /…/ Zdi se mi, da lahko združitev obeh pristopov zelo obogati film, in trdno verjamem, da nefikcija na ta način postane bolj fikcijska, fikcija pa bolj dokumentarna. In prav v tem se po mojem mnenju skriva čar filmske umetnosti. /…/ Ljubezen je v Indiji zelo politična tema. Zato ne morem reči, da moj film ni političen. Izbira zakonskega partnerja je pri nas izjemno kompleksno vprašanje. Kasta in vera med drugim močno vplivata na to, s kom boš preživel življenje. Nemogoča ljubezen, ki je ena od rdečih niti filma Vsi odtenki svetlobe , je zelo politična tema.«
Payal Kapadia
Komentar
»/…/ 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
