1 week Ago By Swathy Lekshmi Vikram
KOCHI: Here is a quick chat with Anurudh Aneesh, the cinematographer for the movie ‘Aattam’, which recently clinched three national awards. He has been working in the film and advertising industry for a decade, and was part of films such as Premam, Anandam and Pookkaalam. Absolutely.
Cinematography plays a crucial role in translating actors with theatre backgrounds onto the screen. The staging of a play is often reflected in the cinematography, especially in films with a theatrical backdrop. This technique, prominently seen in early Malayalam cinema, can also be observed in films such as Nanpakal Nerathu Mayakkam.
Using still shots creates a frame that resembles a stage, where actors enter and exit as they would in a theatre. However, for Aattam’, we went beyond such staging to employ more cinematic methods of photography. The recognition has made people pay more attention to the shot design, often describing it as “engaging” and emotionally resonant.
Some inquired about the lensing choices, like how [lead actor] Zarin was shot using a 100mm lens to emphasise her solitude. This attention to detail, especially the natural lighting and the handheld shots, was meant to draw the audience close to the characters. A gratifying compliment came from Ravi Varman [National Award winner].
He said, “You missed the award because of me.” Filming within the confined space was challenging indeed. Familiarity with the space grew after a few days, helping us understand the emotional conveyance of particular lenses.
As a cinematographer, I consider myself an audience member too; if something doesn’t resonate with me, it likely won’t with the audience either. This perspective encouraged us to explore the limited space innovatively. With the backdrop being just walls, we focused on the faces as landscapes.
Effective cinematography can either enhance the story or add charm, but our priority is to tell the story. Breathing shots were primarily used to narrate the tale, ensuring we didn’t overdo the cinematography. We were inspired by Asghar Farhadi’s mellow style initially.
If the cinematography is excellent, it becomes almost invisible – it immerses the audience fully in the story. When people don’t notice the cinematography, that’s often a sign of its success. Not all films require a dramatic visual style; some benefit from subtlety.
As [Oscar-winning British cinematographer] Roger Deakins said, “There’s good cinematography, bad cinematography, and then there’s the cinematography that’s right for the movie.” The visual language should complement the narrative seamlessly. I am currently working on a production by Mahesh Narayanan and Shebin Becker, directed by Akhil Anilkumar, with Arjun Ashokan in the lead.
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