Kapadia’s first fully narrative film, “All We Imagine as Light,” begins more like a documentary, surveying Mumbai, particularly at night, before gently gravitating toward three women, all of them hospital workers, who are juggling their workaday realities, and those of India’s stratified society, with their own aspirations.

O n May 26, India's Prime Minister Narendra Modi congratulated filmmaker Payal Kapadia on the Cannes success of All We Imagine as Light, her drama slated for U.S. release on Nov. 15. Not only was it the first Indian film to play in competition at Cannes in 30 years,

Director Payal Kapadia shares insights on her film 'All We Imagine As Light,' highlighting the challenges faced by migrants in Mumbai.

Cinema can sometimes be closer to poetry than prose, says filmmaker Payal Kapadia whose much acclaimed "All We Imagine As Light" is an ode to women, their inner world and the bustling city of Mumbai that becomes home.

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

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Once in a while, an actor comes across a role that resonates so strongly with them that they almost become possessive about it. For Chhaya Kadam, director Payal Kapadia’s All We Imagine as Light gave her that role.