Cooke Panchro/i Classic lenses bring out the beauty of Appu Prabhakar's 'Level Cross'

National award-winning Cinematographer Appu Prabhakar has earned a reputation for his distinctive visual style across various Indian films, working in industries such as Malayalam, Bengali, Telugu, and Nepali. His recent Malayalam film Level Cross has been widely lauded for its stunning visual sweep, particularly for the way it balances a surreal and realistic tone, set against the backdrop of the vast, barren Sahara Desert. Prabhakar’s task in this film was nothing short of monumental: to build a visually captivating world that draws audiences into its unique narrative.

Set in two different visual and mental worlds, the majority of Level Cross revolves around just two characters. This narrative minimalism presented a challenge, as Prabhakar had to rely heavily on his cinematographic techniques to create a gripping visual experience. He initially considered using Cooke Anamorphic/i lenses but eventually settled on Cooke Panchro/i Classic lenses. This decision came down to the unpredictable nature of the flares, which helped create a blend of realism and surrealism. “I wanted images that fall between real and surreal, somewhere in the middle of nowhere. The Cooke lenses provided surprises that I loved,” Prabhakar explained.

One of the most critical elements of Level Cross was the color palette, particularly for Amala Paul’s character. After experimenting with various colors, Prabhakar decided on red to make her stand out against the arid desert landscape. “I wanted her color to stand out in the barren landscape. Logically, Asif Ali’s character, who hadn’t seen a woman in a long time, should feel a sense of excitement when seeing her, and that emotion needed to be communicated to the audience,” Prabhakar noted.

The setting for Level Cross posed numerous logistical and creative challenges. Shot in Tunisia’s Sahara Desert, the film became the first Indian production to film in this iconic landscape. The crew had to build roads extending 2 kilometers to access the shooting location, which featured a solitary wooden cabin where most of the story takes place. The cabin was designed to allow as much natural sunlight as possible to flood the interiors, which added to the raw, authentic feel of the film. “My lighting package was minimal—just 4 Kinos and 2 Sky Panels. I wanted to harness the power of natural light as much as possible,” Prabhakar shared.

In terms of camera movement inside the cabin, Prabhakar employed the Movietech dolly, ensuring smooth and controlled movements in a confined space. « The dolly allowed us to navigate the space without compromising the natural light entering the cabin. Timing the shots according to sunlight was crucial, » he noted. However, he admitted that filming in the desert made timing unpredictable. “The sunlight wasn’t consistent each day. We had to adjust on the fly, which required a lot of flexibility from the entire team.”

The external challenges were also significant, especially due to the wind and dust. Despite this, Prabhakar embraced these elements, integrating them into the film’s visual narrative. « Shooting outdoors with constant dust and wind made it impossible to use traditional tools like thermocol. If you watch the film, you’ll notice a thin layer of dust in many scenes, which I used aesthetically to add texture to the visuals, » he explained.

One of the most visually striking aspects of the location was an abandoned railway track that ran through the desert, which Prabhakar used to enhance the film’s composition. “The railway track was a gift from the location. It added a sense of desolation and history, which played into the narrative perfectly,” he remarked. This sense of isolation and emptiness is further accentuated by Prabhakar’s careful use of composition, utilising techniques such as frame within a frame, tunnel views, and the interplay between light and shadow. Given the expansive, featureless desert, these techniques added depth and visual intrigue to the scenes.

Prabhakar’s lens choices were just as thoughtful as his compositions. He shot the majority of the film with 32mm and 75mm lenses, using the 50mm for select shots. “I often land up using Cooke lenses, whether I’m shooting Bengali, Telugu, or Malayalam films. Each time I use them, they continue to surprise me,” he said. 

 Level Cross stands as a testament to Appu Prabhakar’s ability to take on immense technical and creative challenges, turning them into opportunities for visual storytelling. His mastery of natural light, unconventional compositions, and lens choices helped bring the stark beauty of the Sahara Desert to life, while also crafting an intimate and emotionally resonant narrative within a minimalistic setting.