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VISUAL STORYTELLER
BASED DELHI, INDIA
VISUAL STORYTELLER
BASED DELHI, INDIA
Writer
Storyteller
Director
Video Editor
Filmmaker
Video Editor
Filmmaker
Director
Storyteller
Writer
Video Editor
Filmmaker
Director
Storyteller
Writer
Video Editor
Filmmaker
Director
Storyteller
Writer
Smooth Scroll
This will hide itself!
This will hide itself!
Smooth Scroll
This will hide itself!
This will hide itself!
Smooth Scroll
This will hide itself!
This will hide itself!
Some stories demand to be told. JOY is one of them. Filming in the Sundarbans, I witnessed resilience unlike anything else: families rebuilding after storms, tiger widows fighting for dignity, and communities redefining survival in the face of climate change. This isn’t just a documentary; it’s a testament to the human spirit. I directed JOY in a manner that amplified these voices, to bring attention to a region at the frontline of environmental change, and to challenge the way we view nature and progress. Every frame is a piece of their reality, captured with the urgency and honesty it deserves.
Some stories demand to be told. JOY is one of them. Filming in the Sundarbans, I witnessed resilience unlike anything else: families rebuilding after storms, tiger widows fighting for dignity, and communities redefining survival in the face of climate change. This isn’t just a documentary; it’s a testament to the human spirit. I directed JOY in a manner that amplified these voices, to bring attention to a region at the frontline of environmental change, and to challenge the way we view nature and progress. Every frame is a piece of their reality, captured with the urgency and honesty it deserves.
The Mind Thief (2024)
While directing Mind Thief, I wanted to craft a visually engaging and creatively distinct film centered around a protagonist with memory-reading abilities. One of the key highlights for me was directing my first ever chase scene, an exhilarating challenge that pushed my creative boundaries. In essence, this film was a deep dive into visual storytelling (learning to show rather than tell), and a hands-on learning experience that sharpened my skills in direction, and editing. I was fully involved in every aspect of production, ensuring that each frame contributed meaningfully to the narrative.
The Mind Thief (2024)
While directing Mind Thief, I wanted to craft a visually engaging and creatively distinct film centered around a protagonist with memory-reading abilities. One of the key highlights for me was directing my first ever chase scene, an exhilarating challenge that pushed my creative boundaries. In essence, this film was a deep dive into visual storytelling (learning to show rather than tell), and a hands-on learning experience that sharpened my skills in direction, and editing. I was fully involved in every aspect of production, ensuring that each frame contributed meaningfully to the narrative.
Glitch Glitch Hota Hai (2022)
What happens when you step out of your comfort zone and go after what you want? This is exactly the question Glitch Glitch Hota Hai, CinemaScope's official submission to IFP's 2022 50 Hour Filmmaking Challenge, asks. It was my first foray into Direction and cinematography, and I got to map the frames out to the last detail. I wanted to provide a humorous yet honest take on the themes of self-confidence and courage – with a bit of Bollywood drama, of course.
Glitch Glitch Hota Hai (2022)
What happens when you step out of your comfort zone and go after what you want? This is exactly the question Glitch Glitch Hota Hai, CinemaScope's official submission to IFP's 2022 50 Hour Filmmaking Challenge, asks. It was my first foray into Direction and cinematography, and I got to map the frames out to the last detail. I wanted to provide a humorous yet honest take on the themes of self-confidence and courage – with a bit of Bollywood drama, of course.
B Block 3: 315 (2024)
It was a long term passion of mine to make an interactive film, something inspired by the likes of Bandersnatch. So, B Block – Third Floor was my first step into this experimental technique. As a fan of horror, I wanted this film to be different in the sense that it has its jumpscares but it also lingers - there are two stories, both connected, and makes the audience engage with it. So, even though there is always room for improvement, I was happy to give this trilogy a neat ending.
B Block 3: 315 (2024)
It was a long term passion of mine to make an interactive film, something inspired by the likes of Bandersnatch. So, B Block – Third Floor was my first step into this experimental technique. As a fan of horror, I wanted this film to be different in the sense that it has its jumpscares but it also lingers - there are two stories, both connected, and makes the audience engage with it. So, even though there is always room for improvement, I was happy to give this trilogy a neat ending.
Boy With a Camera (2023)
I was the Director, DOP and Editor in this film. This was an experimental montage film and I tried to replicate multiple filmmaking techniques from various iconic movies like The Seventh Seal, Dancing in the Rain and Rocky, due to which I was able to showcase my skills as a cinematographer. I wanted the themes of passion and creative muse to come through subtly, which is why I decided on a non-linear storyline. I also got the liberty to color grade and edit to distinguish between the present time and flashbacks, experimenting with many different cinematic techniques along the way.
Boy With a Camera (2023)
I was the Director, DOP and Editor in this film. This was an experimental montage film and I tried to replicate multiple filmmaking techniques from various iconic movies like The Seventh Seal, Dancing in the Rain and Rocky, due to which I was able to showcase my skills as a cinematographer. I wanted the themes of passion and creative muse to come through subtly, which is why I decided on a non-linear storyline. I also got the liberty to color grade and edit to distinguish between the present time and flashbacks, experimenting with many different cinematic techniques along the way.
Rewrite (2023)
This short film was made as part of the India Film Project’s 50-hour filmmaking competition (Amateur Category), which meant we had just 50 hours to write, shoot, and edit the entire project. I was responsible for the cinematography and editing. Working under such a tight deadline was challenging but also a great learning experience—it pushed us to make quick, focused creative decisions and work efficiently as a team. This film is the result of fast-paced collaboration, problem-solving, and a shared commitment to telling a complete story in a limited time.
Rewrite (2023)
This short film was made as part of the India Film Project’s 50-hour filmmaking competition (Amateur Category), which meant we had just 50 hours to write, shoot, and edit the entire project. I was responsible for the cinematography and editing. Working under such a tight deadline was challenging but also a great learning experience—it pushed us to make quick, focused creative decisions and work efficiently as a team. This film is the result of fast-paced collaboration, problem-solving, and a shared commitment to telling a complete story in a limited time.
B Block 2: Third Floor (2023)
As the Director of Photography and editor for this project, my focus was on crafting strong visuals to support a simple plot. Since this was a nano-film, pacing was key—both in how scenes were shot and how they were cut together. I experimented with framing and camera movements to keep the viewer visually engaged, while using VFX and color grading to build a spooky atmosphere true to the genre. Every decision, from shot composition to final tone, was made to maintain clarity and mood within the film’s compact format.
B Block 2: Third Floor (2023)
As the Director of Photography and editor for this project, my focus was on crafting strong visuals to support a simple plot. Since this was a nano-film, pacing was key—both in how scenes were shot and how they were cut together. I experimented with framing and camera movements to keep the viewer visually engaged, while using VFX and color grading to build a spooky atmosphere true to the genre. Every decision, from shot composition to final tone, was made to maintain clarity and mood within the film’s compact format.
Videos have been a lifelong passion and I dip my toes in every aspect of video production, click here to explore a few cool things I’ve created.
Videos have been a lifelong passion and I dip my toes in every aspect of video production, click here to explore a few cool things I’ve created.