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.
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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