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A revenge drama set in the majestic landscapes of the Orissa ghats. The film, directed by Krish Jagarlamudi, tells the story of a resilient woman (played with fierce intensity by Anushka Shetty) who, in desperate times, enters the dangerous world of the cannabis trade—a decision that puts her life on a perilous trajectory.
Vikram Prabhu joins her in the journey with a measured and respectable performance. While the narrative explores pain, desperation, and vengeance, the visuals balance that intensity with the natural beauty of the mountains.
Cinematography by Manoj Reddy Katasani
Cinematographer Manojh Reddy Katasani recalls how he shaped the visual language of Ghaati:
“When I first approached this film, I made a conscious decision not to use specialized LUTs. I wanted the images to feel as pure and natural as possible. The geography itself was so powerful that it didn’t need heavy treatment.”
“During the recce in the Orissa ghats, I experienced light in a way I never had before. These ranges, with their endless vantage points, demanded us to travel almost 65 kilometers every day to reach the right locations.”
“We would start at 4 a.m. to be in position for the daybreak shot at 6:15 a.m. On one special morning, we managed to capture the very first light striking the mountain as early as 4:30 a.m.”
“To our amazement, Anushka Garu was already at the location with makeup, ready to shoot. Her commitment matched the demands of the landscape.
My framing choices leaned toward wide perspectives, but I wanted to break convention.”
“Instead of always shooting from the obvious vantage points, I sometimes positioned the camera on the opposite side, which gave a full 360-degree sense of space. The mountains were not just a backdrop—they became part of the narrative.”
“This was a tragic story told in one of the most beautiful places I’ve ever worked in. I had to capture the grandeur of the land while still holding onto the raw, emotional weight of the characters.”
“I relied heavily on natural light. The quality of light at those high peaks was magical, almost otherworldly. By using different times of day in the visual scheme, I allowed the environment to shape the mood.”
Manojh chose the ARRI Alexa paired with Cooke FF 1.8x Anamorphic lenses.
“The story demanded wide landscapes, but also intimacy within those vast spaces. Cooke anamorphics were the perfect choice because they gave me a cinematic sweep while still feeling organic and human. The edges have a gentle softness that I love—it never feels clinical, it feels like cinema.
“The 180mm lens was particularly extraordinary. With it, I could bring the distant mountains closer, almost wrapping them around the characters.”
There is one key scene where a character cries out in pain and revenge—the lens allowed the geography to merge with the emotion, enveloping the character in their grief and anger. It became one of the most powerful visual moments of the film.
Reflecting on the collaboration, Manojh adds:
“I feel deeply grateful to my director, Krish Jagarlamudi. He is a very strong visual thinker, and he trusted me with this film early in my career. That trust allowed me to push myself and embrace the landscape as part of the storytelling.
“I am also excited that my next film will again be shot on Cooke lenses—an ambitious Indo-Korean project on an even bigger canvas. After Ghaati, I cannot imagine approaching a story of scale and emotion without them.”
Supported By: Anand Cine Service-Rental House
