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Aug 19, 2019
3-Hour ‘Midsommar' Director's Cut Screened in NYC
Aug 19, 2019

This year’s 12th edition of the Scary Movies festival at Film at Lincoln Center premiered Ari Aster’s extended version of “Midsommar” this past Saturday.

Aug 19, 2019

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Oscars: India Snubs ‘All We Imagine As Light'

September 23, 2024 Jordan Ruimy

Not that surprising but India has officially snubbed acclaimed Cannes drama “All We Imagine As Light,” and instead chosen “Laapataa Ladies” as their Oscar submission in the International Film race.

India did the same thing in 2022 by refusing to choose “RRR” The reason for such lunacy is politics. It always is. “All We Imagine As Light,” which won the Grand Prix at Cannes, doesn’t paint India in the most favorable of light.

The 13-member Indian select committee, headed by Assamese director Jahnu Barua, unanimously decided on “Laapataa Ladies.” They didn’t seem to have much of a choice. They are practically government lapdogs at this point.

It’s not just India. Plenty of other countries ended up playing politics by refusing to submit the appropriate film for Oscar contention. Some of the more egregious snubs this year include “Evil Does Not Exist” (Japan), “April” (Georgia), and “My Favorite Cake” (Iran).

“All We Imagine As Light” is a lovely film that’s all about the vibes — either you get onto its wavelengths, or you don’t. Most critics have as it currently stands at 93 on Metacritic.

The film tackles three nurses: Prabha (Kani Kusruti), Anu (Divya Prabha) and Parvaty (Chhaya Kadam). Each has come to Mumbai, from smaller towns, because opportunities in the big city are more present. Prabha and Anu are roommates, the latter is younger, naiver, and late on rent. Anu has a Muslim boyfriend, Shiaz (Hridu Haroon), and she tries to keep him hidden from her parents who have someone else in mind for an arranged marriage. Meanwhile, the older Parvaty, a widow, is being threatened with eviction.

Shot by Ranabir Das, the film is gorgeous to look at, brimming with authenticity and the surreal nature of the setting. Just two features into her career, Kapadia shows great assurance in her filmmaking. This is slow, poetic and risk-taking cinema that pays off in its dazy and hypnotic finale.

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