All We Imagine As Light, directed by Payal Kapadia drama, is a moving exploration of life in contemporary India. With a compelling and contemplative story, this outstanding film features brilliant performances by Kani Kusruti, Divya Prabha, and Chhaya Kadam.
In this fabulous interview, Divya Prabha, the luminous screen stealer, talks with Subhash K Jha on life before and after All We Imagine As Light.
A lot of movie watchers in North India know you only after Payal Kapadia’s film?
I have been a part of the film industry since 2013, just over 10 years now. Looking back on my journey, I feel truly fulfilled and satisfied. These years have been filled with struggles, learning, and unlearning, all of which I now see as valuable experiences. They have shaped me, both as a person and as an artist. If I had found success and growth right at the beginning, I don’t think I would have appreciated them as much as I do now. This happiness is pure, and I believe only those who have faced struggles can truly understand and cherish it.
Are there films in the past that you regret doing?
Yes, there are some films and television projects where I look back and think, Maybe I shouldn’t have done that. But when it comes to the films I rejected, I have no regrets—I believe I made the right choices. That said, even the projects that didn’t bring me satisfaction played a role in my growth. I believe realization and learning often come from those experiences rather than just the good ones. In many ways, they shaped my journey and helped me evolve as an artist.
Would you agree >All We Imagine As Light is the most important film of your career so far?
Yes, >All We Imagine As Light is the most important film in my career. But I would also say that Declaration, directed by Mahesh Narayanan, and The Family, directed by Don Palathara, are equally significant to me. My first European premiere was at the Locarno Film Festival in 2022 for the movie Declaration, where I received a lot of appreciation for my performance. In fact, Payal reached out to me for the audition for >All We Imagine As Light after watching Ariyippu—she really liked my performance in it.
Has Payal Kapadia’s film changed the course of your career?
I have done two films after Payal’s film, but they weren’t a result of >All We Imagine As Light or Cannes. These projects were already in discussion and confirmed while I was shooting for Payal’s film. That said, I have been receiving some really good scripts after this, which is a positive sign. I also feel that people are valuing my work more than before. As an artist, when your work gets more appreciation, it naturally pushes you to do better. This recognition motivates me and makes me feel even more responsible toward my craft.
Are you in touch with the All We Imagine As Light Team?
Yes, not just the three of us, Payal, Kani Kusruti, and I; I’ve been in touch with several actors and crew members as well, not just the actors. We all bonded both creatively and personally over this long journey, and that connection will stay with us forever. It was a special journey for all of us.
Which is your favourite sequence in All We Imagine As Light?
There are so many scenes that I love, but my absolute favourite is the one where Anu is walking out of the hospital, and Shiyaz (Hridhu Haroon) follows her. They both walk and eventually meet at the junction, holding hands. This scene is my favourite in the film, especially because of the way it was shot; it’s simply beautiful.
In your new film Sarkeet, you share screen space with the excellent Asif Ali?
I don’t have many scenes with Asif Ali in the film, which I finished shooting about a month ago. But Asif is an amazing actor. Every time I watch his films, I can clearly see how he’s growing day by day as an actor. There aren’t many like him. Despite being such a senior actor, he remains grounded and always has the mindset of learning something new.
Any other new projects?
Yes, there are some very interesting projects in the pipeline, and I’ll be revealing them very soon.
