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Appu Prabhakar, a National Award-winning cinematographer, is celebrated for his exceptional work across multiple languages. His latest Malayalam film, Rekhachithiram, is making waves in the film industry for its innovative storytelling and stunning visuals.
“When Director Jofin T. Chacko came to narrate the script, I was expecting a straightforward crime thriller. However, as the narration progressed, I realized it was so much more. The story of Rekha and her emotional, multi-dimensional journey gripped me instantly,” said Appu.
The film’s strong foundation was laid by its writers. “The story by Ramu Sunil and the screenplay by Ramu Sunil and John Manthrickal formed the backbone of this film. Their solid writing truly informed every creative choice and was instrumental in the film’s success,” Appu added.
Crafting two distinct eras for the film was a challenge, but Appu avoided conventional techniques like sepia or black-and-white tones. “The contemporary portions were treated with a modern look, incorporating rich blacks and moderate saturation. Rain was a key narrative tool, and I positioned hoses strategically to make it look authentic. For example, during the scene where the dead body is recovered, the heavy downpour added visual impact and supported the narrative logic, as the skeleton emerged from the mud.”
Recreating the 1980s required extensive research and collaboration. “I studied equipment at Chitranjali Studios and referenced Kathodu Kaathoram, a film by Bharathan. To differentiate this era, I used lighting to achieve subtle imperfections—open highlights, desaturated colors, and reduced black levels. The transitions between the present and past had to be seamless, so we opted for subtle changes to the color palette instead of strong tonal shifts.”
The production design and costumes played a vital role in capturing the era. “Art director Shajie Naduvil, makeup artist Ronex Xavier, and costume designer Sameera Saneesh made significant contributions to achieving the visual quality and believability of the 1980s.”
The film’s visual storytelling reflected the perspective of each character recalling their time with Rekha. “I used lensing to reflect the narrators’ points of view. Wide-angle lenses were employed for emotionally intimate connections, such as Rekha’s bond with the nun, while telephoto lenses created a sense of observational distance for outsiders.”
Appu chose Cooke S7/i lenses paired with the Red V-Raptor camera to enhance the film’s visuals.
“I tested several Cooke lenses, including the S4/i to S8/i, but settled on the S7/i. These lenses offered creative control over flares by adjusting the aperture, allowing me to achieve different looks with the same lens for various eras. I also loved how Cooke lenses render Indian skin tones. The Red V-Raptor provided the flexibility to shoot in multiple formats—Super 35 in 6K and full frame in 8K—enabling me to experiment with depth of field.”
Colour grading was a meticulous process. “Whites dominated the flashback sequences to enhance the 1980s look, but we avoided strong tonal shifts to ensure seamless transitions. My colorist, Liju Prabhakar, and I spent double the usual time grading the film to achieve perfection.”
The film also incorporated AI technology, particularly for recreating a younger version of Mammootty. “Mindstein Company used stills and videos from that period to create the AI-generated version, while the actor himself trained under Jofin to replicate Mammooty’s body language. This was a standout element in the film.”
The film’s music and sound design were equally critical. “Sound designer Jayadevan C and music composer Mujeeb Majeed did an incredible job creating distinct soundscapes for the two eras, enhancing the narrative’s emotional depth.”
Reflecting on the project, Appu expressed his gratitude. “Seeing Rekhachithiram become a blockbuster and receiving appreciation for my work feels surreal. It was truly a collaborative effort, and I’m thankful for the opportunity to bring this story to life.” 
Supported by: CANDID CAMERA COCHIN
