Lawrence Kishore

Lawrence Kishore, man, this guy’s been quietly shaping some wild rides in Tamil cinema. You might not spot his name on giant billboards, but take a peek at his filmography and it’s clear he’s worked on some pretty interesting stuff. Let’s talk Netrikann (2021) first—one of those crime thrillers that actually keeps you guessing. The movie’s got Nayanthara playing a blind woman tangled up in a cat-and-mouse chase with a serial killer. Kishore’s editing? Slick as hell. The tension never really lets up, and that’s partly because of how tight he keeps everything—no dragging, no dull moments. Jump to Kannitheevu (2023), and it’s a whole different flavor. This one’s a buddy drama with a solid dose of social commentary. Kishore knows when to let a scene breathe and when to chop it up for impact. The film flips between raw emotion and tense showdowns, and somehow he makes that all mesh together. It’s not easy, but he pulls it off. Raavana Kottam (2023) is another notch on his belt, throwing you into a rural setting, packed with rivalry, big egos, and some seriously dramatic twists. Kishore’s editing style here? Gritty, a little rough around the edges, but that’s exactly what the movie needs. He’s the kind of editor who won’t settle for boring. Every cut, every pause, feels intentional. Just goes to show, even if you’re not front and center, you can still leave your stamp all over the story.