TURN BLACK X PAYAL KAPADIA
Payal Kapadia has been making waves worldwide, most recently with her feature film All We Imagine As Light, which earned the Grand Prix at the 2024 Cannes Film Festival, alongside numerous other accolades.
As the first South Asian filmmaker nominated for Best Director at the 82nd Golden Globe Awards, Payal’s unique approach to storytelling has elevated Indian cinema to the global stage—an often overlooked platform.
Through her exploration of themes like identity, culture, and the complexities of modern life, Payal effortlessly blends traditional storytelling with contemporary techniques. Her films create immersive, introspective experiences that resonate deeply with audiences. We had the privilege of speaking with Payal about her art, her creative journey, and what the future holds in her ever-evolving career.
Payal seen in our Taiki Embroidered Overlay and the Caro Hand-Embroidered Set from Perception A/W’24
How would you describe yourself and your artistic vision?
I make films to better understand the world I live in. There are pressing questions I struggle to find answers to, and cinema is my way of exploring them.
The depiction of women – especially friendships between women, is often limited or stereotyped in society. Thank you for crafting a storyline that portrays them as individuals first. How did you approach framing this narrative and building a vocabulary that resonates with South Asian women?
I have always been interested in non-familial relationships. I believe friendships offer a way to transcend the limitations of immediate identities. Within families, questions of caste, class, and religion can often create conflicts. But friendships allow for these barriers to be set aside, and I find a lot of possibility in that.
What influenced your decision to become a filmmaker?
My mother is an artist, and she started making video works when I was a child. She and her editor would sit in our apartment, logging all their footage. Watching them work was incredibly inspiring, and it sparked my interest in film editing. Eventually, I moved toward direction.
Are there particular artists or movements outside of cinema that have significantly influenced you?
Many! I deeply admire the work of Arpita Singh and Bhupen Khakhar, whose paintings and stories have been a great source of inspiration. Among photographers, I love Sohrab Hura and Indrajit Khambe. I also look to Kalighat and Pattachitra paintings, which feel incredibly cinematic. Some women artists I admire from around the world include Marlene Dumas and Louise Bourgeois. And the poetry of the late Iranian poet Forugh Farrokhzad has been very influential to me.
How do you balance the personal with the political without making it feel didactic?
It’s something I struggle with a lot—there’s no definitive approach. It really depends on how you engage with the material. Personally, I don’t come from a place of knowing all the answers. My films are a way of exploring these themes and presenting that exploration.
Has it been easier to talk about your film with audiences abroad rather than in India? How do you view audiences and critics as a filmmaker?
It has been different, but equally gratifying. In India, many people – especially women, have had a much more nuanced reading of the film, whereas some cultural contexts get lost with Western audiences. There, the focus tends to be more on the artistic elements of the film.
What guidance would you offer to emerging filmmakers?
Cinema isn’t about what camera you use or what equipment you have. It’s about what you want to explore and how you want to present it. Being open to ideas and not constrained by preconceived notions is something I’ve learned over time.
What can we expect from you in the near future?
I’m currently developing two films, but they’re still in the early stages. It’ll take at least a few more years before they’re ready!
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