Romanticising cityscapes has always been alluring to create a moodboard of a film, where the characters are heading for a redemption arc amidst their internal struggles where the personal turmoil reverberates with the bigger picture of the demographic habits depicted across the streets.

Payal Kapadia follows the rulebook quite explicably in this way only, creating a persona of Mumbai in the images we have seen tons of times, yet the take feels fresher than ever, with voices of different dialects and mother tongues overlapping amidst the hustling and bustling of the metropolitan dilemmas, only to take a Kafkaesque turn on the latter half of the story, where the restlessness of the city suddenly immerses down to a meditative state of mind.

All We Imagine As Light - the title justifies the human condition as depicted through each and every pivotal characters wandering around, like a luminescent portrait of glowing figures with dreams and hopes, illusions and reality checks, disguised as common people, travelling in public vehicles, working in public places, yet seizing the day with all those little bit of hopes laced with the mundanity of life.