Sarin Raveendran

Sarin Raveendran, born November 1, 1988, in Thalassery—yeah, the same little coastal town famous for its biryani and football fever—has been making waves behind the camera for a while now. If you’ve spent any time trawling through indie film circuits or obsessively scrolling through festival lineups, his name’s probably popped up. The guy’s got serious chops. People first really started paying attention after Jalandhar hit the screens in 2024. That film wasn’t just a blip, it was one of those projects where you could actually feel the cinematographer’s fingerprints all over every frame—moody lighting, long takes that made you hold your breath, tiny details that just stuck with you. It wasn’t just about capturing what was in front of the camera, it was about pulling you right into the story, making you feel like you were living in that world, not just watching it. And then, as if to prove he’s no one-hit wonder, he lined up Anpodu Kanmani for 2025. If the early buzz is anything to go by, this one’s got a totally different vibe—softer, more intimate, maybe a little more personal. Folks who’ve gotten a sneak peek keep talking about how he plays with colors and shadows, turning simple scenes into something that just lingers in your head. Sarin doesn’t really do “safe” or “standard.” He’s always pushing for that extra something, that spark that sets a film apart. If you care about movies that look and feel different, or you’re just tired of the same old recycled visuals, keeping an eye on whatever Sarin’s working on next is a pretty smart move.