Salu K. Thomas

Salu K. Thomas, honestly, the guy’s got a wild eye for Malayalam cinema. He popped out of SRFTI and just hasn’t missed a beat since. People still talk about The Great Indian Kitchen (2021)—you know those scenes where food prep morphs from cozy to absolutely suffocating? Yeah, that’s him. Anupama Chopra actually called the visuals “miniature paintings brimming with frustration.” The film cleaned up at the Kerala State Awards and packed theaters too, which isn’t easy these days. Then there’s Kaathal - The Core (2023). Salu channels Tom Vattakuzhy’s vibe, playing with light and shade to crank up the loneliness factor, making every frame feel heavy and intimate. Baradwaj Rangan loved the “judicious” camera work—honestly, that’s tough praise to earn. Kerala loved it too; the film ran for ages. Jump to Daveed (2025)—boom, full-on commercial action. Boxing, wild lighting, camera movement that keeps you on your toes—the Times of India even shouted out the “engrossing execution.” He doesn’t just stick to big features. Freedom Fight (2022) showed his range, from Asangadithar’s gritty, lived-in realism to the Roy Andersson-style visuals in Old Age Home. Dogma’s fingerprints are all over Sree Dhanya Catering Service (2022), which Baradwaj Rangan called out for its handheld vibe. Tarla (2023) had Sucharita Tyagi digging the way he played with space. Even in 4 Years (2022), Anand Kumar RS was floored by the intimacy of the framing. Shorts? He’s got those too—Bhoomi, Chupi Roh, Since Forever—racking up awards left and right. Bhoomi even snagged a Kerala State TV Award. And Maaybaapache Ashirwaad? Gaining buzz. Salu’s not just versatile; he’s straight-up redefining what cinematography looks like in modern Malayalam films.