All We Imagine as Light, Payal Kapadia's competition entry for the 2024 Cannes Film Festival, has found a distributor for its release in North America.
According to American news outlet Variety, two companies -- Sideshow and Janus Films -- have jointly acquired the North American (US and Canada) rights to the movie, which is the first Indian film in 30 years and the first ever by an Indian female director to be screened in the main competition of the prestigious film gala.
Sideshow and Janus Films are planning a theatrical release, the report by Variety added.
Janus, which was set up in 1956, handles rights in all media to an extensive library that includes the work of Michelangelo Antonioni, Ingmar Bergman, Federico Fellini, Abbas Kiarostami, Akira Kurosawa, Andrei Tarkovsky, Francois Truffaut, Agnes Varda.
The company also handles many titles of Indian cinema legend Satyajit Ray, including the critically acclaimed Apu trilogy, comprising Pather Panchali (1955), Aparajito (1956), and The World of Apu (1959).
Besides Kapadia's film, the North American rights to Sandhya Suri’s Santosh, which was screened under the Un Certain Regard section, have been acquired by Metrograph Pictures.
Metrograph Pictures will distribute the film theatrically, with additional release details to be announced at a later date.
All We Imagine as Light, also written by Kapadia, marks her narrative feature debut. An alumna of the Film & Television Institute of India (FTII), Kapadia is best known for her acclaimed documentary A Night of Knowing Nothing, which premiered at the 2021 Cannes Film Festival’s Director’s Fortnight side-bar where it won the Oeil d’or (Golden Eye) award. Her short film Afternoon Clouds in Cinefondation, a category dedicated to supporting the next generation of talented filmmakers.
The Malayalam-Hindi feature will be screened alongside 19 other highly anticipated titles, including films from master directors Francis Ford Coppola (Megalopolis) and Yorgos Lanthimos (Kinds of Kindness).
All We Imagine as Light is about Prabha, a nurse, who receives an unexpected gift from her long-estranged husband that throws her life into disarray. Her younger roommate, Anu, tries in vain to find a private spot in the big city to be alone with her boyfriend.
One day the two nurses go on a road trip to a beach town where the mystical forest becomes a space for their dreams to manifest, according to the plotline.
The film, an Indo-French co-production between Petit Chaos from France and Chalk and Cheese Films from India, features an ensemble cast of Kani Kusruti, Divya Prabha, Chhaya Kadam, Hridhu Haroon, and Azees Nedumangad.
Rahul’s casual dismissal of that controversy has added fuel to the fire
Rahul Bhatt sparks controversy over 'insensitive' remarks about sisters Alia and Pooja Bhatt
Rahul Bhatt, fitness trainer and son of veteran filmmaker Mahesh Bhatt, has found himself at the centre of a social media storm following controversial remarks about his half-sister, Alia Bhatt. In a recent interview, Rahul drew comparisons between Alia and their older sister Pooja Bhatt, calling the latter more talented, attractive, and principled.
The comments, which many have labelled inappropriate and insensitive, have sparked widespread criticism online. During the interview, Rahul stated, “In my opinion, she (Alia) is not even half of what my real sister Pooja is. Not in talent, not in looks, not in terms of being sexy. In front of my sister, she is ‘paani kam chai’ (watery tea). Amongst the siblings, the most talented and the most moralistic is Pooja.”
Social media users reacted strongly, questioning why Rahul would compare his sisters in such personal terms. Several users were particularly disturbed by his reference to their appearance and sex appeal, pointing out that such comparisons within a family cross boundaries of propriety. One comment read, “This is disturbing. Why talk about your sisters like that? It’s not just weird, it’s wrong.” Another post said, “There’s nothing respectful about comparing your siblings’ attractiveness in public.”
The backlash also reignited conversation around a decades-old controversy involving Mahesh Bhatt and Pooja Bhatt. Rahul was asked about the infamous 1990s magazine cover where the father-daughter duo shared a kiss, which had stirred public outrage at the time. Dismissing the criticism, Rahul said, “It doesn’t make any difference. It’s like water off a duck’s back. We know the truth, and we’ve seen everything since childhood.”
Rahul’s casual dismissal of that controversy has added fuel to the fire, with critics saying it reflects a broader issue of the Bhatt family being insensitive to public perception and boundaries. Many users questioned the need for bringing up old incidents in a bid to defend new and equally questionable statements.
As of now, neither Alia Bhatt nor Pooja Bhatt has issued any public response to Rahul’s remarks. Both actors, known for their significant contributions to Indian cinema, have typically kept family matters private despite living in the public eye.
This episode has also sparked debate over the role of public figures in maintaining respect when discussing family matters in the media. Observers say such comments, especially when involving women’s appearance and personal qualities, reinforce problematic attitudes and fuel unnecessary controversies.
While Rahul Bhatt is not as prominent in the entertainment industry as his father or sisters, his comments have made headlines and placed the Bhatt family in the spotlight for reasons beyond their creative work. For many, this serves as a reminder that public platforms come with responsibility, and that family ties should not be trivialised or dissected for attention or comparison.
The backlash is unlikely to subside soon, especially as fans and followers of Alia and Pooja continue to express disappointment over the way the situation has unfolded. Whether or not Rahul chooses to clarify or apologise remains to be seen.