K.V. Anand

K.V. Anand, born in Madras back in ’66, had that rare knack for turning simple visuals into absolute gold. He wasn’t just some guy behind the camera—he was the whole package: cinematographer, director, storyteller, you name it. If you’ve ever watched Ayan (2009), you already know the man knew how to pack a punch. That movie zipped between continents and smuggling rings, but Anand made it feel slick and real, not overcooked like most action flicks. Ko (2011)? Now that one, with its political drama and media chaos, kind of predicted how crazy the news cycle would get. It’s like Anand saw the future and decided to throw it on the big screen, complete with explosive twists and enough suspense to keep you glued. Then there’s Maattrraan (2012), which—let’s be honest—wasn’t your average masala movie. Siamese twins, genetics, international espionage…who thinks of this stuff? Anand, apparently. He always had this wild streak for tackling big, risky subjects, but he somehow made it look effortless. Even if the story went a bit bonkers, you couldn’t deny the visuals were top-tier. This dude really knew how to use color, camera angles, all that jazz, to make every frame pop. He passed away in Chennai in 2021, and honestly, the industry lost someone who wasn’t afraid to shake things up. There aren’t many filmmakers who can say they left a mark like that—his movies still get people talking, arguing, and binge-watching. That’s legacy, right there.