Passport to Rima: Touring the Overseas Backdrops of Her Most Gorgeous Films

Rima Kapoor’s movies don’t just visit other countries. They fall in love with them. A bridge in Paris becomes a supporting character. A spice market in Istanbul turns into a chase sequence. For American fans who’ve spent hours freeze-framing her films, these locations are practically pilgrimage sites. So here’s a travel-minded guide to five overseas backdrops that shaped her most visually striking scenes—with practical notes for anyone thinking of booking a trip.

Paris, France—Blue Hour Bombay (2024)

The scene: Kapoor’s character walks across the Pont de Bir-Hakeim at blue hour, phone pressed to her ear, saying almost nothing. The bridge does the emotional labor. The Seine glows. The Eiffel Tower shows up in the background like an extra who knows exactly where to stand.

If you go: Take Metro line 6 to Passy or Bir-Hakeim. The bridge is free to walk, and the light is best about thirty minutes before sunset. It gets crowded with photo shoots, so go early morning if you want the cinematic emptiness. The nearby neighborhood is quiet and walkable—good for a coffee before or after.

London, England—Monsoon Ledger (2018)

The scene: A rooftop confrontation in Canary Wharf, with the Thames and the city skyline behind her. Kapoor’s character is dressed for a board meeting, but the wind is doing its best to ruin the look. The scene is all glass, steel, and barely contained anger.

If you go: Canary Wharf is free to wander, though rooftop access is limited to specific buildings and restaurants. Use the Elizabeth line or the Jubilee line. Weekdays are busier but more atmospheric if you want that corporate-thriller feel. Check opening hours for any rooftop bars before you plan your visit.

Istanbul, Turkey—The Salt Road (2020)

The scene: A chase through the Spice Bazaar, with Kapoor weaving through crowds of vendors and shoppers. The sound design turns the market’s ambient noise into percussion. She doesn’t run so much as glide, and the camera struggles to keep up.

If you go: The Spice Bazaar is in Eminönü, easy to reach by tram from Sultanahmet. Go early in the morning before the tour groups arrive. Dress modestly, bring cash for small purchases, and be prepared for crowds. The surrounding streets are just as cinematic as the bazaar itself—wander a few blocks in any direction and you’ll find something worth filming.

Cape Town, South Africa—Nine Lives of Naina (2022)

The scene: A car ride along Chapman’s Peak Drive, with Kapoor’s character staring out the window for a full two minutes without speaking. The ocean is on one side, the mountain on the other, and the silence is the point. It’s one of the most beautiful wordless scenes in her filmography.

If you go: Chapman’s Peak Drive is a toll road, and the views are best on a clear day. Rent a car or join a small tour. Weekdays are less crowded. The wind can be wild, so hold onto your hat—and your camera. The drive is short, but you’ll want to stop at the designated viewpoints.

New York City, USA—Paper Lanterns (2019)

The scene: Kapoor’s character enters a Lower East Side diner at 2 a.m., orders pie, and proceeds to have the most awkward conversation of her life. The diner is cramped, fluorescent-lit, and completely unglamorous. It’s also the most romantic scene in the movie.

If you go: Take the F or M train to Delancey Street and walk. The neighborhood is full of late-night spots, though you’ll have to hunt for the exact diner—films often dress real locations to look like other places. Bring cash, tip like a local, and order the pie. It’s the closest you’ll get to a Rima Kapoor scene without a camera crew.

Before You Book

Film schedules are not travel guides. A location that looks empty on screen may be packed in real life, and a beautiful bridge may be under construction. Check visa rules, book refundable rates, and don’t expect a plaque. The fun is in the looking, not the checking off a list.

And if you can’t travel right now, that’s fine. Rewatch the scenes, look up the locations on a map, and let the movies do the wandering for you. Kapoor’s films have a way of making the world feel both bigger and more connected. That’s the real souvenir.