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In this interview, The Mehta Boys cinematographer, Krish Makhija talks to us about the film, his process, and what’s it like to be in this business of crafting a world of films and more!
The camera is the lens through which we experience a film’s world, but crafting a distinct visual language that elevates storytelling is an art that only a few can master. Krish Makhija achieved this with remarkable success in The Mehta Boys. In the film, the visual grammar becomes a language in itself, intricately supporting the story of an architect grappling with the foundation of his evolving relationship with his equally headstrong father. Krish delves into the process of constructing this language in collaboration with visual minds like Boman Irani.
Interestingly, Krish is an “accidental” cinematographer, having stumbled upon his passion for filmmaking after navigating several career shifts. He recognized his love for the craft and dedicated himself to turning that passion into a profession. In our conversation, he reflects on his journey, shares insights into his creative process, talks about the challenges and pressures of working in the industry, what improvements he hopes to see in the future, and why he remains deeply committed to his work despite the obstacles.
Also Read: #BehindTheLens: “Screenwriting is a marathon and the misconception is that it’s a sprint,” says Black Warrant’s Satyanshu Singh
Here's what he had to share!
You’ve built an impressive body of work across short films, documentaries, and feature films. Could you briefly share how your journey with cinema and cinematography began?
My journey began during college when I was fairly lost—I studied science until the 12th grade, then switched to a BA in economics. During that time, I started taking stills on my dad’s old camera that I found lying around. Around the same time, I got introduced to an ad film director, Gyan Correa, and I started going to sets, just observing and helping out, found myself really enjoying. Throughout college, I spent my time after classes working on various projects with Gyan, and in my final year, he received funding to make his first feature film, The Good Road, a Gujarati film that was shot in Kutch. That experience was transformative for me—it was the first narrative film set I got to be a part of. Since I was still in college, I couldn’t be there for the entire shoot, but I contributed in small ways, running odd jobs, taking still photographs, and helping wherever I could. Most importantly, being on that set, out in the desert, observing and learning from the experience left a deep mark on me. It made me realize that while I definitely wanted to work in films, I didn’t want to direct. Instead, I wanted to focus on cinematography—on shooting films. That project gave me the clarity I needed to pursue this path.
So, after graduating from college, I got a job at a production company called The Glitch, where I joined as a producer. The great thing about that place was how flexible and open the work environment was. They understood that you could be involved in different capacities, so even though I was a producer, I got the chance to shoot a lot of the projects we were working on. There were a couple of travel shows that really gave me the opportunity to learn and start getting comfortable with the camera and moving images. I also learned how to edit there, which I think is an incredibly valuable skill for a DP. At the same time, I had the chance to collaborate with friends who were also just starting out in the industry. We worked on some really fun projects—music videos, documentaries, short films—and during that time, I made some of my closest friends, many of whom I still collaborate with today. Those relationships have been special and have helped shape the kind of work we do now. I stayed with The Glitch for a couple of years before deciding to take the next step.
At that point, I felt the need to formalize my experience and study filmmaking from an academic perspective. So, I applied to a few master’s programs and eventually, in 2015, I joined Kino Eyes, a two-year master’s program that’s a partnership between three schools in Europe—one in Portugal, one in Estonia, and one in Scotland. It was an incredible experience. The program exposed me to various types of films and introduced me to some amazing people, many of whom became close friends. It was a nurturing and highly creative environment where I spent 2.5 years learning, working with different people, and absorbing diverse approaches to filmmaking, both in terms of style and aesthetics.
I returned to India around late 2017-early 2018 and essentially had to start from scratch. But I was fortunate to have built strong relationships with people I had worked with previously, and that really helped me get going again. I began with small documentaries and music videos, and gradually things started to take off. I worked on an interesting indie feature film early on, which was an incredible experience. That eventually led to my first long-form series, Afsos, with Anubhuti Kashyap, which was released on Prime Video. From there, things really started to flow, and it kickstarted many other projects.
The Mehta Boys has a distinctive visual language, using fractured walls and tight spaces to construct the story through architecture. How did you guys develop this approach and what challenges did you face in bringing it to life?
I have to point out that Boman Irani is a very visual writer. Coming from a still photography background, he has a strong visual sensibility that reflects in his scripts. This particular script was something he had been developing for many years, and a lot of the visual elements were already written into it. That really helped us in the process of taking those initial ideas and bringing them to life in the final execution.
It was a beautifully collaborative prep process. We spent hours analyzing the script from different perspectives and discussing various influences we both had—some that overlapped and some that were completely different. These discussions helped shape the visual language of the storytelling. I’m a big believer in spending as much time as possible in preparation because it’s during these early conversations that a lot of clarity is achieved, which allows for smoother execution on set. Otherwise, if those details aren’t dealt with during prep, things can become chaotic on set. There are always so many variables that can go wrong during a shoot, so it’s crucial to have that foundation set beforehand.
In terms of challenges, yes, it was a low-budget film, which brought financial constraints and limitations in bringing such an elaborate visual world to life. However, because we were so clear about what we wanted to achieve through our thorough prep, we were able to find solutions or workarounds for most obstacles. Even when faced with limitations, we made sure that the frame and its contents conveyed the message we wanted the audience to receive.
Many viewers have been analyzing the film’s cinematography, noticing small details like the use of red as a metaphor. How does it feel to see your work interpreted this way?
It’s truly amazing because so much love, care, and thought go into making a film, especially a feature-length one. A lot of effort goes into ensuring the story is told in the best possible way. Often, this means that the work I do as a cinematographer should be invisible, allowing people to become fully immersed in the world of the film and live the story as seamlessly as possible. That’s always my goal—being as invisible as possible. Part of achieving that invisibility involves using the tools we have, like framing, composition, lighting, color, contrast, and camera movement, in a way that doesn’t draw attention to itself but instead subtly impacts the viewer’s psychology, helping to move the story forward. The idea is to use these tools effectively, but in a way that doesn’t overpower the narrative.
On one hand, it’s beautiful when this work goes unnoticed because that means it’s doing its job. But at the same time, it’s wonderful when people notice and appreciate the meticulous details we’ve thought through. It’s incredibly rewarding to see that these elements have done exactly what we intended, and I’m very grateful for that. A lot of credit goes to Boman Irani. He’s a very visual person, and his background in photography elevated our conversations about the process of creating images. Some directors can be more hands-off when it comes to visuals, but Boman was fully engaged, and that back-and-forth dialogue really pushed the imagery to its best possible form. His approach helped us consider every aspect of what the image needed to convey and why it needed to be a certain way. So yes, a lot of credit goes to Boman for bringing that to the table and pushing me to arrive at where we ultimately did. It was a truly collaborative process, and I’m grateful for his input.
Boman Irani was a director as well as the actor and the cast especially Avinash Tiwary is being widely praised. What was it like working with them? Do you have any favorite moments from the set?
The cast was incredible, honestly. Not only were they great actors, but they were also just really wonderful human beings. On a long project like this, you end up spending so much time together—it’s almost like living with the cast, crew, and everyone on set. That’s why it’s so important for everyone to bring a certain energy and attitude to the process. And this was one of those special film sets where everyone was on the same page. From day one to the last, the energy and vibe were so positive, and every day felt like a joy to be there. Of course, there were tense moments—there always are on film sets—but overall, it was a beautiful experience. Avinash Tiwary, Shreya, Boman Irani, Puja, and the rest of the cast were truly dream actors to work with. They were all so supportive of what we were trying to achieve, and that’s the beauty of these kinds of films. When everyone comes together, working toward a singular vision, it shows on-screen. It’s much better than having people try to make their own individual films while working on the same project.
As for a favorite moment on set, there were so many. Often, these moments came from limitations. For instance, I remember when we were shooting the airport scene. We had a long scene to shoot with very little time, and the ideas that came out of that constraint really helped create some unexpected magic. It’s those moments, born out of challenges, that are always special when they happen.
You’ve worked on young adult projects like Friday Night Plan and Eternally Confused and Eager for Love, as well as the documentary The Elephant Whisperers. Could you walk us through your typical process and how do you approach crafting a visual language for fiction versus non-fiction?
Every project is its own adventure, each with its distinct world and set of characters. That’s what excites me—figuring out what that world is and what we’re trying to say with the film. As a cinematographer, my primary job is to serve the story and the vision of the director, using the tools at my disposal to achieve that. The process varies, especially between fiction and non-fiction. For fiction, it starts with reading the script multiple times and then having several conversations with the director. The initial conversations focus purely on script analysis—understanding the director’s thoughts and intentions. Once we have a good grasp of the story, we move to the visual side. Everyone imagines something different when they read a script, so I work closely with the director to understand their vision for the world of the film and then offer my own visual ideas to support that. Next, we begin creating the visual language, or as I like to call it, “the rules of the world.” This helps provide clarity and consistency throughout the film. We focus on four main pillars: framing and composition, lighting and mood, color, and camera movement. Breaking down the script with these pillars in mind helps us develop a visual approach for the film.
Once the visual language is established, we start looking at locations—whether real or on set—making sure they align with the rules we’ve set. Then comes the more specific work: creating a floor plan and shot design for each scene. This detailed planning helps every department—production, art, ADs, etc.—understand how we’ll execute each scene. After this, we do tech recces where we test the plans with the crew in the actual locations. We fine-tune these plans based on what we discover on the recces, and this preparation paves the way for a smoother shoot. Of course, we leave room for improvisation or “on-set magic,” but having this level of preparation or homework done allows us to be flexible and ready for anything that comes up. That’s generally my process for fiction, and it helps ensure that we stay true to the story while being as efficient as possible during the shoot.
Nonfiction is an entirely different process. Every documentary I’ve worked on has been vastly varied—whether it’s the characters, the locations, or the story we’re trying to tell. In documentaries, the most important part of the creative process is consistency—showing up every day or as often as possible. Since it’s unscripted, there’s no room for planning or second takes. You have very little control, so it becomes about being present, alert, and observing what’s happening around you while keeping the overall story in mind.
One of the key skills for nonfiction is understanding editing. Often, you’re on your own without the director present, and the scene is unfolding live in front of you. In these moments, you have to make split-second decisions to capture enough material for the director and editor to work with so they can tell the story effectively. Consistency is crucial, as it allows you to get to know the characters better over time. Eventually, you can start to preempt behaviors or events that you might miss early on. You learn to recognize patterns and anticipate moments that will be important later. Another essential quality in nonfiction filmmaking is patience. Unlike fast-paced scripted shoots, documentaries move at a slower pace. At times, you may feel impatient when nothing seems to be happening, but it’s important to stay calm and patient because the magic of documentaries is that things reveal themselves slowly. You have to be ready when those moments arrive, and that only happens if you invest the time and are fully present.
And when it comes to young adult content, how do you create visuals that resonate with a generation constantly consuming media in various formats, aspect ratios, and styles?
When it comes to creating visuals for young adult content, I don’t have a definitive formula. It’s an interesting question. For films and series like Friday Night Plan and Eternally Confused, the focus wasn’t solely on targeting a young adult audience. Instead, it was about working closely with the director to create something universal—something that resonates with audiences across the board, regardless of age. At the end of the day, you’re aiming to make a film that connects with anyone who watches it. The priority is to stay true to the story and the world you’re building, and then trust that it will resonate with various viewers, including younger audiences who are constantly consuming media in different formats. It’s about finding those universal themes and emotions that transcend age and demographic.
It’s often said that the camera is the lens through which we experience the film yet cinematographers rarely get the recognition they deserve. What are your thoughts on getting credit where it's due? Does having your work noticed change anything for you?
There is something Roger Deakins, the legendary cinematographer, said—which resonates deeply with me—is that if a film is reviewed and no one mentions the cinematography, it means you’ve done your job well. Deakins explained that our role is to be invisible in a way, to create a seamless world where the story and characters can exist without the audience being consciously aware of the technical aspects. If viewers are completely immersed in the story without thinking about how it was shot, that’s perhaps the greatest compliment. It means we’ve allowed the film to take precedence, providing a truly immersive experience. Of course, it’s always gratifying when your work gets recognized. In India, for a long time, cinematographers and many other key contributors were often classified as mere “technicians,” seen as a support to the director, who was considered the sole creative mastermind. But that’s changing. Over the past few years, there’s been a growing recognition that cinematographers, sound designers, and others are not just technical figures but creative collaborators in the storytelling process. This shift in perspective is incredibly encouraging.
For me, though, it’s not so much about the recognition or whether a film is successful in the end. The greatest reward lies in the creative process itself—the collaboration, the rhythm you find with your team, and the journey from the script to what you see on screen. It’s about how everything—sound design, music, performances, costumes, production design—comes together to bring a unified vision to life. That, for me, is the true joy of filmmaking. Once that synergy is achieved, it already feels like a victory, regardless of the outcome. That’s what keeps me coming back to this work—the pursuit of that creative energy, the process itself. Everything else is secondary.
Since you are a part of the filmmaking process, is there something you hope to leave behind with your work? And are there any misconceptions about the profession that you’d like to debunk or see change in the future?
For me, it’s always been more about the process than the final product. As long as I’m able to work on projects with the incredible people I’ve been fortunate enough to collaborate with in the past, that’s all I can really ask for. What happens afterward—whether the project succeeds or gets recognition—is out of my control, so I don’t focus too much on that.
As for misconceptions about the profession, there are certainly things that need to change. If you put a group of filmmakers in a room, especially in this country and probably across the world, you’ll hear a common complaint: the demanding lifestyle. The time commitment required for this job is incomparable to most other professions. For example, telling someone that a standard workday is 12 hours doesn’t even account for the one hour before the shift to report to set and the one hour after, meaning you’re really looking at 14-hour days, not including commute times. It’s physically, emotionally, and mentally taxing. This is especially challenging in a creative industry where you need to bring fresh energy and ideas to your work. It becomes tough to do that when you’re exhausted from long hours. In recent years, I’ve seen this problem worsen, particularly on advertising sets, where 16 to 18-hour days are becoming the norm, and they often spill into 20-22 hour days, sometimes even 24-hour shifts. That’s simply not sustainable or healthy. The excuse often given is that budgets are tight, so everything has to be crammed in, but I believe we need to rethink either the goals or the methods because this approach is damaging.
When you’re younger, you can power through it, and there’s even a culture of people bragging about how little sleep they’ve had or how long they’ve been working. But as I get older, I realize how unhealthy this is. I see people getting sick or facing long-term health issues. The concept of work-life balance is almost non-existent in these situations. After a 14 or 16-hour day, all you want to do is shower and sleep—you skip meals, you don’t have time for family or friends, and you lose the ability to be a well-rounded person. You end up consumed by the work. This is something that really needs to change. I’m not sure how, but it’s a conversation that constantly comes up among filmmakers. Everyone feels it, especially as we get older, and we’re starting to see the long-term effects. If we can figure out how to balance things now, hopefully, it won’t lead to serious issues down the road. It’s definitely something to think about and address.
Lastly, of all the projects you’ve worked on, which one is your favorite? And is there a recent film or series you’ve watched that inspired you, something you wish you’d been a part of?
It’s hard to pick a favorite project because, like I mentioned earlier, each one feels like its own adventure. Every project brings something new—new people, new challenges, and new stories that make it special in its own way. But if I had to mention one, there’s a feature-length documentary I’ve worked on for over seven years called Turtle Walker. It’s directed by a close childhood friend of mine, and it just had its premiere at DOC NYC last year, which was an incredible moment.
The film is about Satish Bhaskar, a man who, in the 70s and 80s, walked over two-thirds of India’s coastline looking for sea turtles. He led this remarkable life of adventure, and through the film, we were able to tell his story while also experiencing his journey vicariously. It was one of the most beautiful and challenging creative processes I’ve been a part of. The film brought me some unforgettable experiences, from meeting amazing people to witnessing the stunning natural beauty of India’s coastline. After all the love and effort that went into it, I’m really excited for it to be shared with the world. Although the market is tough right now, and many filmmakers are struggling to get their work onto platforms, I hope Turtle Walker will be out soon for people to see.
As for recent films or series that have inspired me, there’s so much incredible work out there. I had the chance to attend DOC NYC for Turtle Walker’s premiere and saw some truly remarkable films at the festival. It’s an exciting time right now, with many new voices in film pushing boundaries despite the challenges the industry is facing. That’s really inspiring to me. I’m also keeping an eye on the independent space in India, where my peers are doing some phenomenal work. I hope to collaborate on some of those projects in the future.
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