The glitz and glamour of the Cannes Film Festival often shine a spotlight on cinematic excellence, and this year, India had reason to celebrate. Payal Kapadia’s All We Imagine As Light made history by winning the Grand Prix, the festival’s second-highest honour, and became the first Indian film in 30 years to achieve such a feat. It was a moment of immense pride for the nation’s film fraternity, signalling a global recognition of Indian storytelling beyond mainstream commercial cinema. However, amidst the international acclaim, a stark reality check has emerged from one of the film’s own stars, Nawazuddin Siddiqui, casting a shadow on its domestic reception.
Siddiqui, known for his powerful performances in both mainstream and independent cinema, recently voiced his dismay regarding the film’s incredibly short theatrical run in India. His comments have sparked a crucial conversation about the challenges faced by critically acclaimed independent films in a market often dominated by big-budget spectacles.
A Celebrated Journey Cut Short Domestically
All We Imagine As Light, a poignant narrative exploring the lives of two nurses in Mumbai, captivated critics at Cannes with its sensitive portrayal and compelling storytelling. Directed by Payal Kapadia, an alumna of the Film and Television Institute of India (FTII), the film’s triumph was seen as a beacon of hope for parallel cinema in India. It garnered significant international buzz, with many hailing it as a masterpiece and a strong contender for the prestigious Palme d’Or.
Yet, according to Nawazuddin Siddiqui, who plays a pivotal role in the film, this international triumph did not translate into a sustained presence on home screens. In a candid statement that resonated deeply within the industry, Siddiqui expressed his frustration: “This film, All We Imagine As Light, won at Cannes and was still thrown out of Indian theatres after four days. Why? No one knows. There is no solution to this.” His words highlight a perplexing paradox: a film celebrated globally struggles to find an audience, or even a platform, in its country of origin. This sentiment underscores a long-standing issue concerning the distribution and exhibition landscape for non-commercial cinema in India.
The Perennial Struggle of Independent Indian Cinema
Siddiqui’s statement is not an isolated lament but rather echoes the experiences of numerous filmmakers dedicated to independent and art-house cinema in India. The theatrical distribution model in the country is heavily skewed towards commercial viability, with multiplex chains and single-screen theatres often prioritising films that promise immediate box office returns. Independent films, with their nuanced narratives and often slower pace, struggle to compete for prime showtimes, sufficient screen count, and sustained runs.
The challenges are multi-faceted. Limited marketing budgets for independent films mean they often fail to cut through the noise generated by lavish promotional campaigns of mainstream blockbusters. Furthermore, audience preferences, largely conditioned by years of commercial cinema, sometimes lean away from films that demand introspection over escapism. Even with critical acclaim and international accolades, the perception that such films cater to a niche, ‘festival-going’ audience often leads to a self-fulfilling prophecy of limited theatrical exposure.
While streaming platforms have emerged as a significant alternative, offering a wider reach for diverse content, the prestige and cultural impact of a successful theatrical run remain unparalleled. The short lifespan of films like All We Imagine As Light in Indian theatres raises pertinent questions about whether the ecosystem truly supports and nurtures the kind of cinema that brings international honour to the country. It points to a need for distributors, exhibitors, and perhaps even audience mindsets to evolve, creating dedicated spaces and sustained opportunities for films that push artistic boundaries.
Nawazuddin Siddiqui’s frank assessment serves as a powerful reminder that winning accolades on the global stage is only half the battle. For independent Indian cinema to truly flourish and connect with its domestic audience, a more robust and equitable distribution framework is imperative. The conversation ignited by his words underscores the urgent need for a ‘solution’ to ensure that India’s cinematic triumphs are celebrated and accessible at home, not just abroad.
