Interview: Appu Prabhakar gets candid about his cinematography in ‘Rekhachithram’ and other projects

In a candid interview with South First, Appu, an alumnus of Satyajit Ray Film and TV Institute, shares his experience working on Rekhachithram and his approach to cinematography.

Published Jan 20, 2025 | 3:32 PMUpdated Jan 20, 2025 | 5:30 PM

Rekhachithram is Appu Prabhakar's first commercial movie

The Malayalam movie Rekhachithram has received an overwhelming response since its release. Cinematographer Appu Prabhakar, thrilled with the reception, is especially proud as this is his first full-fledged commercial film in Malayalam.

With an impressive filmography spanning Bengali, Gujarati, Telugu, and Nepali languages, Appu also won the 65th National Film Award for Cinematography in the Non-Feature category for the short film Eye Test.

In a candid interview with South First, Appu, an alumnus of Satyajit Ray Film and TV Institute, shares his experience working on Rekhachithram and his approach to cinematography.

Working on Rekhachithram

Q. Rekhachithram has become a super hit movie and has an overwhelming response. How was your experience working on the film?

A. I met director Jofin T Chacko in August 2023. After hearing the story, I was convinced it could be a great film and decided to join immediately.

We started the shooting in May 2024 and finished it in 60 days. There were 90 locations and it turned out to be a challenging shoot with weather interrupting the shoot now and then. Also, the recreation of the Kathodu Kathoram set and that period required meticulous planning and execution.

I must thank our producer Venu Kunnappilly and his production team, who stood behind us like a rock and made sure that every requirement was met professionally.

Q. How was the shooting process with the Kathodu Kathoram movie sets playing a key role?

Location still of Rekhachithram

Location still of ‘Rekhachithram’. (Supplied)

A. The character of Rekha (Anaswara Rajan) and the story of Rekhachithram are based on recollections from various characters. Rekha is portrayed as a supporting character in Kathodu Kathoram, which forms the basis of this alternative history film.

The direction team did thorough research, but sourcing items from that period was challenging. However, the art director Shaji Naduvil handled it efficiently.

I couldn’t find a good print of Kathodu Kathoram, but I watched it on YouTube and reimagined its lighting scheme. For instance, we used warm lighting to recreate the location scenes from Kathodu Kathoram, as Tungsten lights were commonly used at that time.

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Collaborative process

Q. What were your conversations with the director?

A. Jofin is a collaborative filmmaker. He told me that the depiction of the past in Rekhachithram should be convincing, as a successful portrayal of the period would ensure the movie’s success. He was always open to the ideas we shared and selected the ones that were best for the film.

Appu Prabhakar is a national award winner

Appu Prabhakar is a national award winner. (Supplied)

Q. How was the experience of meeting Mammootty during the shoot?

A. I met Mammookka (Mammootty) after post-production. In this movie, we recreated his old look using images of his younger self, processed by a machine learning-based AI application from Mindstein Studios.

An artist was trained to resemble Mammootty and performed the scenes. We used VFX to change the face, but we needed approval from Mammootty and he gave it after watching it. That is when I met Mammookka for the first time.

Q. What can you tell more about Rekhachithram?

A. The producer had a clear vision for the movie’s success, and the director, along with the entire team, worked hard to bring it to life. Art director Shaji Naduvil and his team worked closely with mine.

Dance master Shanthi did a remarkable job, completing the climax song in Kanyakumari. My biggest collaborator was colourist Liju Prabhakar, as the final look of the film is shaped during colour correction. The movie features different colour tones, and Liju’s expertise helped shift these tones across various periods.

Editing by Shameer Mohammed, sound design by Jayadevan Chakkadath, and music by Mujeeb Majeed all played crucial roles in the film’s success.

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Shooting an investigative drama

Q. What were your first thoughts as you heard the story which has an investigation angle?

Appu Prabhakar with Asif Ali at the location

Appu Prabhakar with Asif Ali at the location.

A. Before joining the shoot, I definitely thought about various aspects of Rekhachithram. What I found interesting is that the recollections of people’s memories are crucial to understanding Rekha’s identity. The crime in the film took place 40 years ago, making it nearly impossible to find evidence as we would today.

I wouldn’t classify Rekhachithram as an investigative thriller, since investigation is just a device here. I’d describe it more as an investigative drama, as it doesn’t follow the typical cat-and-mouse model. This movie will be remembered for the emotional connection to Rekha’s character, and I was excited to explore that angle.

Q. What is your thought process as you get to know about a script?

A. My style focuses on the script first, then understanding how the director envisions the movie. Once I have that, I create a visual treatment that includes camera movement and lighting.

I also pay close attention to the editing, as it’s crucial. I consult with the editor on certain scenes to understand the pacing, which helps in the shot design process.

Work in Bengali and Gujarati films

Q. You have an impressive profile in Bengali films, which are known for their content-driven stories. How did you enter the industry, and what was your experience working there?

Appu Prabhakar with Asif Ali at the location

Appu Prabhakar with Asif Ali at the location.

A. In 2018, I received the National Award for my non-feature short film Eye Test. That same year, National Award-winning director Atanu Ghosh invited me to work on his next film.

I collaborated with him on his next three films. During that time, I was active in the industry, working on six feature films and web series. I also worked with filmmakers like Kaushik Ganguly and Parambrata Chatterjee, including on the biopic of Soumitra Chatterjee.

Q. Apart from Bengali, you were also part of Gujarati and Telugu films? How was it working in these industries?

A. In 2023, I worked on a Gujarati film and a Nepali film directed by my friend. All these projects were independent films showcased at international film festivals. I also worked on the Telugu version of Maheshinte Prathikaram and other films.

After working in Telugu cinema, I began focusing on films meant for theatre.

Malayalam films

Q. Your previous movie Level Cross also had a different location in Tunisia. Can you tell me about it which also received critical appreciation?

Rekhachithram was shot in 60 daysA. Ninety-five percent of Level Cross was shot in Tunisia, which was a completely different experience. We had a small crew and stayed at the same hotel as Asif Ali. The shooting process was not like a typical commercial film.

Director Arfaz Ayub had a clear vision for the film’s visuals, making it easy for me to understand the visual language from his brief.

Rekhachithram is more content-driven, but the visual treatment ensures the story flows seamlessly for the audience.

Q. Malayalam films are getting good recognition, especially in 2024. Have you analysed the cinematography work in those films?

A. The Malayalam industry is experiencing a great phase, with films from various genres finding success. The cinematography here is impressive, especially considering the minimal resources used to achieve it.

I research trending visual languages and study the work of my contemporaries. In Rekhachithram, I aimed to maintain a consistent visual style to ensure the smooth flow of the narrative.

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Upcoming films

Q. Can you tell me about your next film, Narayaneente Moonu Aanmakkal?

A. This movie is directed by Sharan Venugopal and is the first main stream film I worked on in Malayalam. Shot in 2023, it will be released in February 2025.

The film is performance-oriented, featuring Joju George, Suraj Venjaramoodu, and Sajitha Madathil in key roles.

Q. What kind of movies do you like to do?

A. My first consideration is that the movie should excite me and be one I would want to watch. However, if a reputed director presents a story with conviction, I may choose to do it. The key factor is whether I can connect to the story.

I want to work in films of different genres with strong scripts, talented filmmakers, and skilled technicians. I also seek films that provide space for artists to perform.

Q. What are your future projects?

A. Discussions are happening for two Malayalam films now. An official confirmation is yet to be announced. I have also received a call from my friend for a new Bengali film.

(Edited by Sumavarsha)

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