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The much-anticipated Hindi feature film ‘Phir Aayi Hasseen Dillruba’ premiered on Netflix on August 9th. Directed by Jayprad Desai, the film features the acclaimed cinematography of Vishal Sinha, known for his award-winning work in films such as ‘Chup:Revenge of the Artist’, ‘Raanjhanaa’, ‘Ghoomer’, and ‘Aap Thak Chappaan’.
Vishal Sinha, who has been praised for his stunning recreation of the Gurudutt era in ‘Chup’ shares his insights on the visual storytelling of ‘Phir Aayi Hasseen Dillruba’.
He notes his inspiration to light ‘Chup‘ in a way that would honor how Gurudutt and VK Murthy visualized cinema. «I wanted to light up ‘Chup’ the way Gurudutt loved to see, with VK Murthy’s touch,» he says.
‘Phir Aayi Hasseen Dillruba‘ is a vibrant pulp fiction set in a small town Agra characterised by a dynamic colour palette that represents the characters’ emotions and traits. «Rani Saxena, played by Taapsee Pannu, represents red; Vikrant Massey’s Rishabh Saxena exudes a cool, relaxed vibe with blue; and Sunny Kaushal’s Abhimanyu is marked by shades of green, symbolising envy,» explains Sinha. He emphasises the importance of colour symbolism, incorporating it subtly into set design, costumes, and lighting. «Colour palette is very important for me, so I decided to bring it in a subtle way.»
The film’s lighting varies with the narrative’s demands—high contrast for action sequences, incidental lighting for character-driven moments, and glamorous lighting for female leads. «Lighting-wise, I used many variations: one character running away from police has more contrast, another is lit incidentally, and the girl is lit in a glam way,» says Sinha. Compositionally, Sinha uses wide-angle views to place characters within their environment, often with the Taj Mahal as a textured, diffused backdrop. «Most of the scenes have the Taj Mahal in the background, more on a selective depth of field way.»
Sinha utilized the Sony Venice camera with a base ISO of 2500 to capture the film’s numerous night sequences, aiming to enhance the drama with natural ambient light. «I wanted to use natural ambient light for the night sequences to punch up the drama,» he notes. The Cooke Anamorphic lenses were pivotal in achieving the desired softness and unique flares that complemented the film’s serious tone and the town’s unorganized lighting.
«Small towns have unique unorganized lights, and I wanted to explore the surprise flares. Cooke Anamorphic was the best for that,»
Shooting the entire film at minus T2.8, Sinha ensured all colours and tonal ranges were set during production, working closely with an on-set colourist. «I had all my colours and tonal range done on set itself. Once the shoot was finished, I had an on-spot colourist to bring my colour scheme,» he explains. This approach allowed him to maintain the flow of colours and tones according to his shooting plan. «Doing it after completion of the film and in post, a lot of external factors and other films come into play. I wanted the flow of colours and tone to go on with my shooting plan itself.»
Sinha reveals he has recently completed shooting another film, ‘Safar’, using Cooke Anamorphic lenses, further showcasing his commitment to visual excellence and storytelling through meticulously crafted cinematography.
