All We Imagine as Light

Prabha, a Mumbai nurse, sees her orderly life unsettled when a surprise gift arrives from her estranged husband. Across the cramped apartment, her younger roommate Anu struggles to carve out a private moment with her boyfriend while the city keeps intruding on their plans. A spontaneous trip to a seaside town becomes a backdrop for zooming in on longing, boundaries, and small acts of risk. The film follows their conversations, hesitant smiles, and the quiet bravery it takes to claim space for themselves in a world that often treats intimacy as a taboo. It is a restrained study of friendship, desire, and the fragile lines we draw around love.

Directed by Payal Kapadia, All We Imagine as Light unfolds as an original screenplay rather than an adaptation, showcasing Kapadia's intimate, observational approach. The film marks her continued exploration of female desire in modern urban life. It emphasizes close ups and natural light throughout.

Box office receipts place it at about 3.01 million dollars worldwide, a modest return that nonetheless signals solid interest in Kapadia's restrained drama. The film found audiences in festival runs and arthouse circuits, resonating with viewers who crave intimate character studies.

Reception highlights the film's quiet, patient approach to desire and autonomy. Critics praise the performances of Kani Kusruti and Divya Prabha as Prabha and Anu, whose evolving bond frames urban loneliness, consent, and the search for personal space in a crowded city. Dialogue is sparse, and pauses invite readers to read the subtext between lines.

Culturally the film has sparked dialogue about intimacy in apartment life and the overlooked spaces women claim as their own. Its coastal visuals and Mumbai backdrop give the film a distinctive mood, helping it stand out in contemporary Indian cinema and on the festival circuit.