Zoya Akhtar's 'Gully Boy' is a story of people living in slums, but the ones who don't succumb to the woes of life, instead retaliate and rebel against their fates every day.

Zoya Akhtar and Jay Oza (cinematographer) had mentioned that she didn't want to highlight the dominant 'blue' of the city which comes naturally from the abundant tarpauline used in slums.

Finally, they used an orange-yellow sort of colour because their film is about dreams, ambitions and hopefulness. Do you know, the colour opposite blue on the colour wheel? Hint: It's also a fruit!

The soft and warm outdoor light also helps to show the dreamy, privileged and comfortable lives of the ones not living in small, broken and cramped houses.

Contradicting Zoya Akhtar's vision in 'Gully Boy', Payal Kapadia's 'All We Imagine As Light' is exactly the opposite. It focuses on the blues of the cities and contrasts Akhtar's hopeful orangish-yellow portrayal.

Right from local train seats to blue pre-painted galvanized iron sheets masking the city in the name of development. Blue is also the colour of illusions, giving the characters 'blues' because they are aware that they cannot access the privilege reserved for the privileged.

It is also interesting to watch some scenes which give hope to the character and although light is seen as a symbol of hope, it hasn't been used much in the film. Despite being covered with the colour of illusions, the film presents an honest portrayal of the city's dirt and dearth (of empathy for the character).

A major difference between 'Gully Boy' and 'All We Imagine As Light' is that the city of Mumbai is also a character in the latter. This compilation of cinematic visions of different movies based on the slums of Bombay is inspired by some netizens' X posts. Credits go to @AbiggerSpalash and @anupamsidhant.

'Salaam Bombay', a 36-year-old film made by Mira Nair, depicts the lives of children living in Bombay slums. The convincing portrayal reminds the viewer of childhood while simultaneously ripping the characters of it. 

In the dusty city of dreams where everyone aspires to achieve something, everyone has a mirage, and Mira Nair's 'Salaam Bombay' presents a closer look at the lives of people, people less talked about.

Mira aptly captures the city in a dusty state and maintains that throughout but the pop of colours at certain elements makes it a visual treat for the viewers.

Nair's depictions are quite poignant, stir emotions, and are capable of saying a lot of things all at once. The intertwining of characters' lives and the overlapping of lack of privilege is quite interesting to watch in this heartwarming portrayal.