January 12, 2025 • 18 mins
Ahead of the Oscar nominations, we discuss one of the most acclaimed films of 2024, writer-director Payal Kapadia’s All We Imagine as Light.
We talk about the film’s bittersweet exploration of urban loneliness and the migrant experience, its depiction of Mumbai, and Kapadia’s command over tone. We also talk about the bold mid-movie pivot and how it affects the narrative.
Later, we discuss the film’s Oscars omission and the disrespect that it has been shown by the Film Federation of India.
—
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:16):
Hi, I'm Akilara. And I'm.
Bhuvan Nahar, welcome to the long take.
This week we're discussing all the images like fiction feature
line debut which has been travelling the international
sort of films. OK then released and it's now
finally on streaming platforms. Yeah.
What do you think of this movie?Yeah, I really.
Liked it. I guess that's unsurprising
(00:38):
because basically everybody likes it.
But yeah, an unusual kind of movie from our country.
We don't often see something this refined and with a voice.
Yeah, so. And the fact that, like, you
know, like, as I mentioned, she's breaking her life, it's
surprising that, you know, it's not like that was her first
(01:00):
movie in the sense because the previous one was like a
documentary, which makes it evenmore sort of like surprising
that you have such a defined approach of like, what you want
to execute. Obviously the the influences are
pretty strong and there is a sense that, you know, she'll
find her own unique voice probably as she goes along,
(01:22):
because this is very much, you know, we've spoken about first
films before and this is very much a first film.
It feels like it. You can sense that the film
student in her, you know, bursting out from, you know,
just the the Audi voice over. Yeah, we can even set her like
the the her doc. You spread it right?
Like a movie begins like a documentary.
(01:43):
It does not begin like with our protagonist.
Yeah, which is interesting because it also the documentary
style opening is is about the fourth character of this movie,
right, Because there are three humans and one city.
Yeah. And there is sort of a love hate
(02:03):
relationship that she seems to have with the city of Mumbai,
right? Which like 4 doesn't right?
I mean, a lot of people romanticize the city especially.
In the they're like at some level do like hate it.
It's just like think they try tocover it up by like
romanticizing, I think, which islike what she is explicitly like
(02:24):
not in for right. She's not going to use any of
the Bombay so-called quote UN quote elements that have been
used over like 5-6 decades to romanticize the city.
Instead, like she uses them for how like real people like feel
them or are affected by them. Like, so when it's not like
she's going to use rain as like a moment to convey romance, No,
(02:45):
it's going to be like either there's water logging in
someones house or someones rushing to take clothes off the
clothes line. Yeah.
There is no. I mean, in fact, several
characters kind of talk about how dehumanized they feel in the
city, right? Because John was like part of
the beer. And once you've kind of outlived
your usefulness, it's time for you to be put out to pasture,
(03:09):
right? Which is what the Chaya Kadam
character is experiencing. And to a degree, the the Kaniko
Sruthi character and the Divya Prabha character, they very
easily could be headed in the same direction, right?
But it's them realizing in real time that, you know, this is
this is probably what's in storefor us.
And we we can make choices to kind of avoid this just fading
(03:33):
into like oblivion, which is kind of like sad.
And there is like this melancholy throughout the movie.
Yeah. And I think that's, it's very
deliberate into it. You have to have these sort of
working class characters, right?Because the city like absolutely
needs them. Without them, they could not
function, be it nurses, be it like people working like in
(03:55):
other sort of public cleaning departments or you know, just
like offices and like governmentbuilding and stuff like that.
But it is trying so hard the same kind of city to like, as
you said, push them either to oblivion or like literally like
outside of its boundaries, right?
Like you, please do not live around us.
Yeah, which is the interesting thing, right?
Because we've seen movies about working class people living in
(04:16):
Bombay and we've seen like mainstream movies about working
class people in Bombay. We've seen Amitabh Bachchan
movies. He's seen like Slumdog
Millionaire and invariably they're about like, oh the
spirit, let's celebrate. 5 Spirit or.
Yeah, but this one is like, no, you're all screwed.
This city is going to eat you upalive and like spit you out.
(04:39):
And at some point, if I need to realize like, pros and cons,
right? Like what's worth and what
isn't? Like because sacrificed her
entire life for the dream? Yeah.
And I think the bigger version of it, like that's the obvious
1, like this is how the city treats you.
Like that's like them in your face version.
And then there are the smaller things you get right from here
(05:00):
and there from like, say a new relationship.
Like she's not literally able toexpend time with her boyfriend
because of the city multiple times.
Yeah, and for multiple reasons, right, Ekto?
Like the culture and then there's something, there's
something more like overt, whichis like, where will she go?
She shares a house with the Braba.
(05:22):
And she's in. Barely.
She had. One, yeah.
And she has nowhere to go. And these are just like everyday
obstacles in the lives of so many people.
And the movie isn't kind of being like, oh, look at the
spirit of this person. No, it's just observing her like
she and she's going. She's going about her life.
She's doing what she can. She's still has the youthful
(05:45):
kind of desire to follow her instincts, which to a degree,
the other two characters have had drained out of them.
Right? Yeah, for different reasons.
And she's very good in the role.Like she's just, I felt like
sort of like Star making sort ofperformance, right, Because she
kind of pops. Yeah, I think it's very like
(06:06):
they all have like such distinctplaces to occupy in the movie.
You know, it's never feels like they're trading or stock
stepping on each other sort of territories in some ways that
you're you're getting a peek into a different world with each
sort of character. And it really sort of helps them
to have this sort of almost likeoral motif, which is like, you
know, linked to each character as well.
(06:28):
Yeah, they also have like via these three characters, you get
like 3 different perspectives and not only life but also, you
know, the female experience and also the city, right?
You're viewing how differently three women in perhaps similar
like socio economics, like segments can experience life.
(06:51):
Yeah. And they're all like, it's very
like minimalistic the movie. But like so much is conveyed via
just the performance and the waythat she kind of construct
scenes. Yeah, even.
One short sometimes, you know, staging like even like 20 second
shot in that, that scene where Prabhai is hugging that rice
(07:12):
cooker. I think that scene is like it
doesn't even come when she wakesup in the night and she starts
reading the poems that's given by the Doctor like you would
explain them to be put in there.No, it's given its own sort of
space few minutes later when she's in all just like mopping
up the water in the house and then it happens.
But like that stays. Either way, that scene has still
(07:32):
stayed with me despite having seen this movie like month ago
in theatre. Yeah, like similarly, you know,
like just the forbidden romance is so like in the mood for love,
right? The the subplot with the Doctor,
it's, it's, you know that it's going to go nowhere.
(07:52):
And there is so much like yearning from both sides, like
this woman who's been kind of neglected and so like tragically
neglected. And who knows what the Doctor
has been through, but he's also clearly very alone, right?
And they meet like 3 or 4 times and then it's so rich, like that
whole relationship, but you knowit's going to go nowhere.
(08:15):
And to a degree, she's also likejudging Anu for what she's doing
secretly. So there's that kind of layer to
that dynamic. And so much of it is just done
so simply right. Like that Bridgewala scene as to
remember where they meet and then it's like they're doing
something naughty by just like, standing next to each other and
(08:39):
talking. And then yeah, which is.
Why we're like people. Yeah, exactly what we're about
to mention. Like when they walk she like
takes a few steps back. Yeah.
And it's like similarly, like I watched this movie months ago
and it's the staying power of itis quite remarkable, right?
Because like we forget things that we've done yesterday, but
we remember like tiny nuances, like just like you mentioned,
(09:02):
the small step back that she takes, you know, which just
shows how how clear the vision was with this film.
It's sort of a movie if the. Movie wants to like emphasize on
something that it's able to use even like two to four seconds to
convey how important that momentis.
Like it doesn't have to be like there are big moments in this
movie, you know, like Prabha andParvati extending in front of
(09:25):
that amazing constructed a billboard and then smashing it
with like rocks. Like that's that scene is built
to be remembered. And then as we have spoken
about, like there are these tinymoments which are like crafted
but such thought that they stay with you.
Even the final shot, it's like on one of those memorable final
shots, right? Yeah.
(09:46):
Like another side moonlight level shots.
Or, which could very easily be an influence also, right?
Yeah. But yeah, it's almost static,
the short. Yeah.
And it's just like, sounds and images and barely any movement.
But then so much is happening, right?
(10:06):
There's such a sense of, like, warmth in that moment.
And the movie needs it because for so long, there's like, it
feels like, like the characters.The movie itself was restrained
emotionally, and in those final,like, few seconds, there's like
(10:28):
a release of sorts and not like,distancing itself from the style
that they'd already established.It's still adhering to that
style. But then there is like a minor
tweak that kind of just changes the mood.
And that's a sign of a steady film maker.
You know, like someone who knowsexactly what to do.
(10:48):
Yeah. I mean, the change in mood is
like, like, almost like sort of unexpected and massive.
And like, when that term shift comes from leaving the city and
suddenly there in the outskirts,like force actually cleverly
uses like colours. Like suddenly all the Blues are
ditched and we have now greens and Browns and stuff.
So that conveys like the shift in like scenery that we're going
(11:10):
to experience. And then obviously like as
you've spoken about and on the expanse of the tech space.
Yeah. What did you make of the
abandonment of Mumbai midway through this movie?
Because it is a drastic kind of,I think it.
Was like, yeah, I think it's almost speaks to like what these
as we spoke about, like these three women, different
(11:32):
generations were caught in a sort of similar sort of
tragedies here and then. And I think getting away from
the city physically and like, you know, in some level, like
almost like spiritually sort of detaches them from the burdens
that city had put on them. And able to like which like one
scene which we like gives us that of them, like that whole
(11:54):
dance scene physically conveys that freedom.
But then the rest of it as well,I think they're able to now see
things in another light of us, right?
Which is why, as you mentioned, Prabha was judging Anu like
somebody in the city about the relationship, but then she comes
to evolve. And then even though she spots
him for having sex, by now she'sseeing that in another light,
(12:16):
which I feel like it's almost like the distance from the city
is like letting them have that sort of one.
Factor but also partially it's like a temporary relief, right?
Because at some point they have to go back.
Yeah. And that kind of makes it very
bittersweet, which is like the overwhelming kind of emotion
(12:39):
that this movie leaves you with,right?
Is this this vicious cycle? And there are moments of
respite, and these people have at least identified that this
one, the moment that we are in right now, needs to be kind of
say word because who knows? Yeah, there's a lot happening in
(13:00):
this movie about like a lot happening outside of it all.
So it's too apparently too international for our whatever
Jewry people. I think that's just like a way
to like discard things that you don't want to talk about.
Like, you know, it's a cheap like tactic or like way to just
(13:21):
like put something down, which is.
Weird, right? Because.
Which is like, yeah. And we've always like known
that, right? Like, like, you know, we'll
never hear from someone in the industry.
But I mean, off camera and off the mic, people will tell you
that if things are successful inthe West, Bollywood is.
It's snobbish enough to be like,oh, we'll ask Sasmund Reyna,
(13:41):
Kumay, I get recognition. No, I mean multiple things,
right? Firstly, why do you want to put
it down? Like what are the politics that
play? And like how much did Aamir Khan
pay you? All of those things.
How was your like GO pay you. Yeah, exactly.
Did you not want to offend Mukesh bhai?
(14:02):
But yeah, one of the most baffling decisions to not
because this movie is like nomination to Pakka in a couple
of categories. Which is why, like, I'm actually
in some regard, I'm actually placed because the movie is
succeeding Despite that. Despite that, not like.
You know, I need it needed needed that slot to like get
(14:22):
nominated. No, she's getting nominated by
the movie getting nominated on itself, right, and like that
would be the biggest like thing is like the movie just even
outside of the foreign language from category which like any of
this restrictive they have had that those debates about the
Oscars. If it just breaks out on its
own, like you know, like parasite or something like this
(14:44):
gets a nomination in some categories that that's the
achievement right. And then this doesn't matter if
Indian some Buddha and culture to get not care for it over.
Yeah, doing it on its own terms and also like.
And I think the other thing which I like surprising, you
know, is that like no one has atleast not publicly told us that
(15:06):
is getting some like deal or something.
This is what, how you the thing goes in Hollywood.
Like if you do something as a young filmmaker who like your
first fiction feature or whatever, you and your first
feature is like really good, youstart getting like calls from
people. You had like things lined up.
You know, you're at least the next 2-3 years set.
I don't know what, but I do next.
(15:26):
Like nobody knows. Like, I'm not sure if the
industry wants or if he's going to have to just like keep making
the indoor European conversions.Also, The thing is that the
white people have found out thatshe was screwed over, and that's
making them support the movie even more.
Yeah, like also they've heard. Yeah, that they love her.
(15:51):
Underdog that. Is why, like, yeah, similarly,
right, Because they've also kindof become aware that she
protested against the governmentand got like, slapped with the
lawsuit. And it's the kind of movie that
we really see. I can't even remember the last
time we spoke about something like this on the podcast.
Like. So that should just tell us to
(16:16):
kind of like the three characters, savor this moment
because temporary. There's a blip in the time
space. Continue.
Yeah. But a welcome one.
Like if you did not get this episode audience, you would have
got an Office episode on Singhamagain.
So there you go, that says it all.
(16:38):
Yeah, Singham again. Or three.
Or like whatever the hell nonsense.
That we've done for like the other 80.
Weeks but it's been a good year,you know, we've had this, we've
had girls will be girls we had which I actually liked a lot
more than this one and. Right.
Santosh, which is basically an Indian movie, but also in
(17:01):
contention. Yeah, like, and you know, it's
not like those fake like I was thinking, do you remember that
movie from like a couple of years ago called like Three of
Us, which in a way was similar because those characters kind of
go out of the city and go to this thing and go on this
(17:21):
journey, etcetera, etcetera, etcetera.
But then that felt like a appropriation of what an art
house indie is. Yeah, it.
Yeah, I don't know. At some level it feel
manufactured. Correct.
I think we're on the same page. It'll act like an authenticity,
I suppose. And and you can clearly tell
(17:45):
like the difference in skill when you, like, watch this, you
know. So yeah, this is the real deal.
Too bad the people don't see it,or at least some people.
Yeah, those people don't matter.Most people see it thankfully.
Accept you're clear. That's all for this episode of
The Long Take. If you follow us on Facebook,
(18:07):
YouTube, Instagram and threads at the Long Take Board, you can
write to us at The Long Take board@gmail.com.
Please leave us a rating and a review where a recent episode
and we will see you next week. Thanks for listening.
Hi, I'm Akilara. And I'm.
Bhuvan Nahar, welcome to the long take.
This week we're discussing all the images like fiction feature
line debut which has been travelling the international
sort of films. OK then released and it's now
finally on streaming platforms. Yeah.
What do you think of this movie?Yeah, I really.
Liked it. I guess that's unsurprising
(00:38):
because basically everybody likes it.
But yeah, an unusual kind of movie from our country.
We don't often see something this refined and with a voice.
Yeah, so. And the fact that, like, you
know, like, as I mentioned, she's breaking her life, it's
surprising that, you know, it's not like that was her first
(01:00):
movie in the sense because the previous one was like a
documentary, which makes it evenmore sort of like surprising
that you have such a defined approach of like, what you want
to execute. Obviously the the influences are
pretty strong and there is a sense that, you know, she'll
find her own unique voice probably as she goes along,
(01:22):
because this is very much, you know, we've spoken about first
films before and this is very much a first film.
It feels like it. You can sense that the film
student in her, you know, bursting out from, you know,
just the the Audi voice over. Yeah, we can even set her like
the the her doc. You spread it right?
Like a movie begins like a documentary.
(01:43):
It does not begin like with our protagonist.
Yeah, which is interesting because it also the documentary
style opening is is about the fourth character of this movie,
right, Because there are three humans and one city.
Yeah. And there is sort of a love hate
(02:03):
relationship that she seems to have with the city of Mumbai,
right? Which like 4 doesn't right?
I mean, a lot of people romanticize the city especially.
In the they're like at some level do like hate it.
It's just like think they try tocover it up by like
romanticizing, I think, which islike what she is explicitly like
(02:24):
not in for right. She's not going to use any of
the Bombay so-called quote UN quote elements that have been
used over like 5-6 decades to romanticize the city.
Instead, like she uses them for how like real people like feel
them or are affected by them. Like, so when it's not like
she's going to use rain as like a moment to convey romance, No,
(02:45):
it's going to be like either there's water logging in
someones house or someones rushing to take clothes off the
clothes line. Yeah.
There is no. I mean, in fact, several
characters kind of talk about how dehumanized they feel in the
city, right? Because John was like part of
the beer. And once you've kind of outlived
your usefulness, it's time for you to be put out to pasture,
(03:09):
right? Which is what the Chaya Kadam
character is experiencing. And to a degree, the the Kaniko
Sruthi character and the Divya Prabha character, they very
easily could be headed in the same direction, right?
But it's them realizing in real time that, you know, this is
this is probably what's in storefor us.
And we we can make choices to kind of avoid this just fading
(03:33):
into like oblivion, which is kind of like sad.
And there is like this melancholy throughout the movie.
Yeah. And I think that's, it's very
deliberate into it. You have to have these sort of
working class characters, right?Because the city like absolutely
needs them. Without them, they could not
function, be it nurses, be it like people working like in
(03:55):
other sort of public cleaning departments or you know, just
like offices and like governmentbuilding and stuff like that.
But it is trying so hard the same kind of city to like, as
you said, push them either to oblivion or like literally like
outside of its boundaries, right?
Like you, please do not live around us.
Yeah, which is the interesting thing, right?
Because we've seen movies about working class people living in
(04:16):
Bombay and we've seen like mainstream movies about working
class people in Bombay. We've seen Amitabh Bachchan
movies. He's seen like Slumdog
Millionaire and invariably they're about like, oh the
spirit, let's celebrate. 5 Spirit or.
Yeah, but this one is like, no, you're all screwed.
This city is going to eat you upalive and like spit you out.
(04:39):
And at some point, if I need to realize like, pros and cons,
right? Like what's worth and what
isn't? Like because sacrificed her
entire life for the dream? Yeah.
And I think the bigger version of it, like that's the obvious
1, like this is how the city treats you.
Like that's like them in your face version.
And then there are the smaller things you get right from here
(05:00):
and there from like, say a new relationship.
Like she's not literally able toexpend time with her boyfriend
because of the city multiple times.
Yeah, and for multiple reasons, right, Ekto?
Like the culture and then there's something, there's
something more like overt, whichis like, where will she go?
She shares a house with the Braba.
(05:22):
And she's in. Barely.
She had. One, yeah.
And she has nowhere to go. And these are just like everyday
obstacles in the lives of so many people.
And the movie isn't kind of being like, oh, look at the
spirit of this person. No, it's just observing her like
she and she's going. She's going about her life.
She's doing what she can. She's still has the youthful
(05:45):
kind of desire to follow her instincts, which to a degree,
the other two characters have had drained out of them.
Right? Yeah, for different reasons.
And she's very good in the role.Like she's just, I felt like
sort of like Star making sort ofperformance, right, Because she
kind of pops. Yeah, I think it's very like
(06:06):
they all have like such distinctplaces to occupy in the movie.
You know, it's never feels like they're trading or stock
stepping on each other sort of territories in some ways that
you're you're getting a peek into a different world with each
sort of character. And it really sort of helps them
to have this sort of almost likeoral motif, which is like, you
know, linked to each character as well.
(06:28):
Yeah, they also have like via these three characters, you get
like 3 different perspectives and not only life but also, you
know, the female experience and also the city, right?
You're viewing how differently three women in perhaps similar
like socio economics, like segments can experience life.
(06:51):
Yeah. And they're all like, it's very
like minimalistic the movie. But like so much is conveyed via
just the performance and the waythat she kind of construct
scenes. Yeah, even.
One short sometimes, you know, staging like even like 20 second
shot in that, that scene where Prabhai is hugging that rice
(07:12):
cooker. I think that scene is like it
doesn't even come when she wakesup in the night and she starts
reading the poems that's given by the Doctor like you would
explain them to be put in there.No, it's given its own sort of
space few minutes later when she's in all just like mopping
up the water in the house and then it happens.
But like that stays. Either way, that scene has still
(07:32):
stayed with me despite having seen this movie like month ago
in theatre. Yeah, like similarly, you know,
like just the forbidden romance is so like in the mood for love,
right? The the subplot with the Doctor,
it's, it's, you know that it's going to go nowhere.
(07:52):
And there is so much like yearning from both sides, like
this woman who's been kind of neglected and so like tragically
neglected. And who knows what the Doctor
has been through, but he's also clearly very alone, right?
And they meet like 3 or 4 times and then it's so rich, like that
whole relationship, but you knowit's going to go nowhere.
(08:15):
And to a degree, she's also likejudging Anu for what she's doing
secretly. So there's that kind of layer to
that dynamic. And so much of it is just done
so simply right. Like that Bridgewala scene as to
remember where they meet and then it's like they're doing
something naughty by just like, standing next to each other and
(08:39):
talking. And then yeah, which is.
Why we're like people. Yeah, exactly what we're about
to mention. Like when they walk she like
takes a few steps back. Yeah.
And it's like similarly, like I watched this movie months ago
and it's the staying power of itis quite remarkable, right?
Because like we forget things that we've done yesterday, but
we remember like tiny nuances, like just like you mentioned,
(09:02):
the small step back that she takes, you know, which just
shows how how clear the vision was with this film.
It's sort of a movie if the. Movie wants to like emphasize on
something that it's able to use even like two to four seconds to
convey how important that momentis.
Like it doesn't have to be like there are big moments in this
movie, you know, like Prabha andParvati extending in front of
(09:25):
that amazing constructed a billboard and then smashing it
with like rocks. Like that's that scene is built
to be remembered. And then as we have spoken
about, like there are these tinymoments which are like crafted
but such thought that they stay with you.
Even the final shot, it's like on one of those memorable final
shots, right? Yeah.
(09:46):
Like another side moonlight level shots.
Or, which could very easily be an influence also, right?
Yeah. But yeah, it's almost static,
the short. Yeah.
And it's just like, sounds and images and barely any movement.
But then so much is happening, right?
(10:06):
There's such a sense of, like, warmth in that moment.
And the movie needs it because for so long, there's like, it
feels like, like the characters.The movie itself was restrained
emotionally, and in those final,like, few seconds, there's like
(10:28):
a release of sorts and not like,distancing itself from the style
that they'd already established.It's still adhering to that
style. But then there is like a minor
tweak that kind of just changes the mood.
And that's a sign of a steady film maker.
You know, like someone who knowsexactly what to do.
(10:48):
Yeah. I mean, the change in mood is
like, like, almost like sort of unexpected and massive.
And like, when that term shift comes from leaving the city and
suddenly there in the outskirts,like force actually cleverly
uses like colours. Like suddenly all the Blues are
ditched and we have now greens and Browns and stuff.
So that conveys like the shift in like scenery that we're going
(11:10):
to experience. And then obviously like as
you've spoken about and on the expanse of the tech space.
Yeah. What did you make of the
abandonment of Mumbai midway through this movie?
Because it is a drastic kind of,I think it.
Was like, yeah, I think it's almost speaks to like what these
as we spoke about, like these three women, different
(11:32):
generations were caught in a sort of similar sort of
tragedies here and then. And I think getting away from
the city physically and like, you know, in some level, like
almost like spiritually sort of detaches them from the burdens
that city had put on them. And able to like which like one
scene which we like gives us that of them, like that whole
(11:54):
dance scene physically conveys that freedom.
But then the rest of it as well,I think they're able to now see
things in another light of us, right?
Which is why, as you mentioned, Prabha was judging Anu like
somebody in the city about the relationship, but then she comes
to evolve. And then even though she spots
him for having sex, by now she'sseeing that in another light,
(12:16):
which I feel like it's almost like the distance from the city
is like letting them have that sort of one.
Factor but also partially it's like a temporary relief, right?
Because at some point they have to go back.
Yeah. And that kind of makes it very
bittersweet, which is like the overwhelming kind of emotion
(12:39):
that this movie leaves you with,right?
Is this this vicious cycle? And there are moments of
respite, and these people have at least identified that this
one, the moment that we are in right now, needs to be kind of
say word because who knows? Yeah, there's a lot happening in
(13:00):
this movie about like a lot happening outside of it all.
So it's too apparently too international for our whatever
Jewry people. I think that's just like a way
to like discard things that you don't want to talk about.
Like, you know, it's a cheap like tactic or like way to just
(13:21):
like put something down, which is.
Weird, right? Because.
Which is like, yeah. And we've always like known
that, right? Like, like, you know, we'll
never hear from someone in the industry.
But I mean, off camera and off the mic, people will tell you
that if things are successful inthe West, Bollywood is.
It's snobbish enough to be like,oh, we'll ask Sasmund Reyna,
(13:41):
Kumay, I get recognition. No, I mean multiple things,
right? Firstly, why do you want to put
it down? Like what are the politics that
play? And like how much did Aamir Khan
pay you? All of those things.
How was your like GO pay you. Yeah, exactly.
Did you not want to offend Mukesh bhai?
(14:02):
But yeah, one of the most baffling decisions to not
because this movie is like nomination to Pakka in a couple
of categories. Which is why, like, I'm actually
in some regard, I'm actually placed because the movie is
succeeding Despite that. Despite that, not like.
You know, I need it needed needed that slot to like get
(14:22):
nominated. No, she's getting nominated by
the movie getting nominated on itself, right, and like that
would be the biggest like thing is like the movie just even
outside of the foreign language from category which like any of
this restrictive they have had that those debates about the
Oscars. If it just breaks out on its
own, like you know, like parasite or something like this
(14:44):
gets a nomination in some categories that that's the
achievement right. And then this doesn't matter if
Indian some Buddha and culture to get not care for it over.
Yeah, doing it on its own terms and also like.
And I think the other thing which I like surprising, you
know, is that like no one has atleast not publicly told us that
(15:06):
is getting some like deal or something.
This is what, how you the thing goes in Hollywood.
Like if you do something as a young filmmaker who like your
first fiction feature or whatever, you and your first
feature is like really good, youstart getting like calls from
people. You had like things lined up.
You know, you're at least the next 2-3 years set.
I don't know what, but I do next.
(15:26):
Like nobody knows. Like, I'm not sure if the
industry wants or if he's going to have to just like keep making
the indoor European conversions.Also, The thing is that the
white people have found out thatshe was screwed over, and that's
making them support the movie even more.
Yeah, like also they've heard. Yeah, that they love her.
(15:51):
Underdog that. Is why, like, yeah, similarly,
right, Because they've also kindof become aware that she
protested against the governmentand got like, slapped with the
lawsuit. And it's the kind of movie that
we really see. I can't even remember the last
time we spoke about something like this on the podcast.
Like. So that should just tell us to
(16:16):
kind of like the three characters, savor this moment
because temporary. There's a blip in the time
space. Continue.
Yeah. But a welcome one.
Like if you did not get this episode audience, you would have
got an Office episode on Singhamagain.
So there you go, that says it all.
(16:38):
Yeah, Singham again. Or three.
Or like whatever the hell nonsense.
That we've done for like the other 80.
Weeks but it's been a good year,you know, we've had this, we've
had girls will be girls we had which I actually liked a lot
more than this one and. Right.
Santosh, which is basically an Indian movie, but also in
(17:01):
contention. Yeah, like, and you know, it's
not like those fake like I was thinking, do you remember that
movie from like a couple of years ago called like Three of
Us, which in a way was similar because those characters kind of
go out of the city and go to this thing and go on this
(17:21):
journey, etcetera, etcetera, etcetera.
But then that felt like a appropriation of what an art
house indie is. Yeah, it.
Yeah, I don't know. At some level it feel
manufactured. Correct.
I think we're on the same page. It'll act like an authenticity,
I suppose. And and you can clearly tell
(17:45):
like the difference in skill when you, like, watch this, you
know. So yeah, this is the real deal.
Too bad the people don't see it,or at least some people.
Yeah, those people don't matter.Most people see it thankfully.
Accept you're clear. That's all for this episode of
The Long Take. If you follow us on Facebook,
(18:07):
YouTube, Instagram and threads at the Long Take Board, you can
write to us at The Long Take board@gmail.com.
Please leave us a rating and a review where a recent episode
and we will see you next week. Thanks for listening.
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