The New Yorker:

Payal Kapadia’s drama of women’s solidarity, a major prize-winner at Cannes, pays radiant homage to a city and its people.

By Justin Chang

It’s tedious to talk about the weather, but “All We Imagine as Light” compels me to at least attempt an exception. From the moment the movie begins, on a warm night during monsoon season in Mumbai, the writer and director, Payal Kapadia, evokes heat and moisture with extraordinary sensual power, and in a cascade of richly atmospheric details: a man’s sweat-stained shirt; outdoor fans whirring above a slow-moving throng; a welcome breeze pouring in through the windows of a rattling commuter train. Later, the rains will come: when Anu (Divya Prabha), a young hospital nurse, sits on a bench with her boyfriend, Shiaz (Hridhu Haroon), a sudden downpour drives them away—the latest indignity for two young city dwellers who haven’t had much luck finding privacy.

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