For cinematographer Binendra Menon, every film begins long before the camera starts rolling. It starts with listening, observing and understanding the world of the story. Over the years, he has brought that approach to a wide range of projects, including Love, Wrinkle-Free, Lavender, Banjara, Shiv Shastri Balboa and the recently released Sathi Leelavathi. Having worked across feature films, international productions and more than 500 commercials, Binendra continues to look for fresh ways to tell stories through images.
Sathi Leelavathi immediately stands out for its bright and cheerful visuals. Asked about the visual mood he wanted to create, Binendra explains that the film’s emotional tone guided every creative choice. “The movie is a family entertainer and a feel-good story that all audiences can enjoy, even though the storyline has serious elements. I aimed for a mood inspired by Romantic K-dramas, with visuals that are beautiful, colourful and uplifting. In scenes with multiple character interactions, I made the colours pop to keep things lively, while adapting the lighting to the emotional journey of the characters so every frame felt alive and never dull,” he shares.
When preparing for a film, he believes the most important step is ensuring that he and the director share the same vision. Explaining his process, he says, “I start by listening to the settings, where it’s happening and when, as a brief to imagine while reading or listening. Then we dive into the story, heart and soul. Next, I ask for images, movie or video references, Instagram or YouTube videos. I make notes on my visual language ideas and story suggestions, and create a pre-production meeting deck to ensure we’re aligned creatively.”
His collaboration with director Tatineni Satya has only strengthened with time. Speaking about working together again, Binendra notes, “This is my second film with Satya sir, and we’ve developed a great sync because we understand each other’s sensibilities. He constantly thinks beyond conventions and isn’t afraid to break norms, which makes the process smooth and exciting, as I enjoy working on unconventional ideas.”
Having spent years moving between advertising and cinema, Binendra has learnt to switch gears depending on the medium. “In ads, you tell a story in seconds. Every frame must work fast to grab attention. While movies give time to build tension, characters, full story slowly. Lensing and movement are very different,” he shares.
His international experiences have also broadened his perspective. “Communication is the key difference. Having studied and worked abroad, I understand that emotional expressions vary across cultures. It helps me see stories from different viewpoints and communicate them better through visuals,” he highlights.
That curiosity stems from a deeply personal journey. Reflecting on how it all began, he notes, “After dropping out of engineering, I struggled with depression and was labelled a failure, but my mother’s suggestion to join a photography course changed everything. Through photography and later International Film Festival of Kerala, I discovered cinema’s power, which inspired me to pursue cinematography. Looking back, dropping out was my best decision.”
Looking ahead, Binendra remains eager to discover new worlds. “I love exploring different languages and cultures because cinematography is a universal art form. Having shot projects in more than seven languages, I want to expand my horizon even further,” he concludes.
