India’s Stellar Showing at Cannes
This year’s Cannes Film Festival was a banner year for Indian cinema. Anasuya Sengupta triumphed as the first Indian actor to win the Un Certain Regard Best Actress award, while Chidananda S. Naik’s short film, Sunflowers Were the First to Know, secured the La Cinef first prize. However, the crowning glory belonged to Payal Kapadia’s feature film, All We Imagine As Light. Her Grand Prix win, the second-highest honor at Cannes, marked a watershed moment not just for her, but for Indian cinema, particularly for female directors with a strong socio-political voice.
From Film Student to Acclaimed Director
Kapadia’s journey began with her 2017 short film, Afternoon Clouds. Premiering at Cannes, it explored the nuanced relationship between an elderly widow and her young domestic help. The film’s delicate portrayal of loneliness and companionship showcased Kapadia’s talent for handling complex themes with subtlety. Afternoon Clouds established her as a promising new voice in Indian cinema.
A Night of Knowing Nothing: A Haunting Exploration
Kapadia’s documentary, A Night of Knowing Nothing, catapulted her onto the global stage. It won the prestigious Oeil d’Or for best documentary at Cannes in 2021. The film, a haunting exploration of student life, dissent, and the complexities of love and revolution in contemporary India, stemmed from her own experiences. Kapadia, a former student of the Film and Television Institute of India (FTII), had participated in a 139-day student strike against government interference. The film, a blend of found footage from student protests, personal letters, and evocative storytelling, became a powerful chronicle of a generation’s disillusionment and determination. It captured the socio-political turmoil and the enduring spirit of resistance, making it a significant cultural document.
All We Imagine as Light: Delving Deeper
Kapadia’s latest film, All We Imagine as Light, further cemented her reputation as a visionary director. With three strong female leads, the film delves into the lives of marginalized communities, exploring themes of displacement, identity, and resilience. This work again demonstrates her ability to weave poetic imagery with profound social commentary.
Cinema as a Tool for Protest
Kapadia’s work is intrinsically linked to her activism. She belongs to a new wave of filmmakers who are unafraid to challenge the status quo and use cinema as a platform for protest. Her films tackle critical issues like student movements, state repression, and the fight for freedom and justice. Her involvement in the FTII protests exemplifies this commitment. It was not just about her rights as a student, but a fight for academic freedom and democratic values.
Overcoming Challenges with Resilience
Kapadia’s journey hasn’t been easy. The male-dominated world of Indian cinema presented obstacles, from funding limitations to potential censorship. However, her unwavering resilience has paved the way for her and her work to gain recognition and respect, both nationally and internationally.
A Defining Moment and a Powerful Statement
Kapadia’s Cannes Grand Prix win marked a new peak. Her acceptance speech resonated far beyond the film community. She expressed solidarity with the protesting festival workers, highlighting the often-unseen labor that keeps the glamorous world of cinema running. Her concluding remarks underscored her commitment to social justice and equality: “It’s because of them [the workers] that the festival works so smoothly… I stand in solidarity with their movement.”
Art, Activism, and the Power of Cinema
In a world where the lines between art and activism blur, Payal Kapadia stands out as a figure who embodies both. Her films and activism are not mere reflections of reality; they are calls to action, urging viewers to question, reflect, and ultimately, resist. Payal Kapadia’s story is a testament to the power of cinema as a tool for social change. Her work reminds us that at its best, cinema is not just about entertainment – it’s about making a difference.
Sujata Hati Baruah teaches Political Science at Puthimari College. She writes on gender and cinema.