The film’s opening sequence sets the tone for the themes the film will later explore while hinting at the director’s affection for the documentary format – Kapadia’s previous work was documentary. A night without knowing anything. Kapadia understands how to visualize the story of a subject while keeping the reins of storytelling in her hands and this is one of her greatest strengths as a director.

Everything we imagine as lightThe opening sequence of “Mumbai” sets up “Mumbai” before setting up the story. Everyone and everything is constantly, the constant flux making everything seem temporary. We catch little snippets of conversation, all of which further reinforce the urban solitude at the heart of the film. Love, loneliness and companionship are recurring themes in the film.

Prabha is quiet and lonely – she spends most of her time at work or in her rented house. Her husband left for Germany a few days after their wedding and doesn’t even call anymore – “Maybe he has nothing to say,” she says. On the other hand, Anu is full of energy; his enthusiasm borders on naivety. She revels in the freedom the city gives her access to and is more than happy to inhabit this space with her boyfriend Shiaz (Hridhu Haroon).

Meanwhile, Parvaty’s fight for stability is more tangible than the others: she risks being kicked out of her house by the builders if she can’t find proof of ownership. Their individual struggles unite all three women, particularly in how their identities help determine how much they can fight against their circumstances.

Parvathy’s identity as a woman cannot be separated from her struggle: she has been so far removed from the possibility of owning her own home that, once widowed, she cannot even find the slum papers.