“Everyone has at least one person in Mumbai.” “There’s work and money in Mumbai. Who would want to go back?” “You better get used to the impermanence.” Like poetry, the hushed voices of real Indian migrant workers pour gently over footage of a busy market glowing in the night in India’s largest metropolis, the spirit of the film’s two tender leads––Prabha and Anu, nurses in the city––evoked by documentary-style voiceover.
Writer-director Payal Kapadia isn’t interested in the flashy world of Mumbai that gets so much global attention. Per its opening soundscape, All We Imagine as Light means to bask in the luminescence of life found among India’s lower classes, which means acknowledging the inequality and socio-economic injustice that defines their everyday as much as it means showcasing their intrinsic glow and dogged refusal to let the inalienable love, beauty, and camaraderie of existence be taken from them.
Writer-director Payal Kapadia isn’t interested in the flashy world of Mumbai that gets so much global attention. Per its opening soundscape, All We Imagine as Light means to bask in the luminescence of life found among India’s lower classes, which means acknowledging the inequality and socio-economic injustice that defines their everyday as much as it means showcasing their intrinsic glow and dogged refusal to let the inalienable love, beauty, and camaraderie of existence be taken from them.
- 5/27/2024
- by Luke Hicks
- The Film Stage
“Time” is a movie about the aftermath of a crime that tells you very little about the crime, or the trial that followed, or the legal arguments that tried to get a man out of jail for decades. Instead, it focuses on one thing: the people who are affected, inside but mostly outside the jail.
You could call it a film about crime and justice, but it’s really a film about humanity.
In recent years, we’ve seen a string of disquieting films about miscarriages of justice and about the mass incarceration of young Black men, among them “13,” “The Central Park Five,” “Crime + Punishment” and “Copwatch.” But Garrett Bradley’s “Time” never comes across like an issue film, because it speaks to the issues by showing the people; it’s closer to a doc like “Hale County This Morning, This Evening” in that it’s an artful...
You could call it a film about crime and justice, but it’s really a film about humanity.
In recent years, we’ve seen a string of disquieting films about miscarriages of justice and about the mass incarceration of young Black men, among them “13,” “The Central Park Five,” “Crime + Punishment” and “Copwatch.” But Garrett Bradley’s “Time” never comes across like an issue film, because it speaks to the issues by showing the people; it’s closer to a doc like “Hale County This Morning, This Evening” in that it’s an artful...
- 10/9/2020
- by Steve Pond
- The Wrap
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