Aneek Chaudhuri is a visionary filmmaker whose work transcends conventional storytelling, bringing a profound focus on the emotional power of color in cinema. Hailing from Kolkata and deeply influenced by his formative years in Delhi, Aneek’s creative journey began with a passion for visual narratives shaped by the vibrancy of his surroundings and the influence of arthouse masters like Ritwik Ghatak, Tarkovsky, and Kieslowski. His films, such as Cactus, Jharokh, and The Zebras, exemplify his unique approach to storytelling, where color perception becomes a central narrative tool. Aneek meticulously maps color arcs for characters and scenes, integrating them from the script stage to evoke emotions and enhance thematic depth. Recognized for his ability to craft immersive experiences, Aneek continues to push boundaries, blending cultural symbolism, psychological insights, and bold artistic experimentation. His work stands as a testament to cinema’s power to communicate through hues and tones beyond words.

The Social Digest: Can you tell us a bit about your journey into film production and direction? What inspired you to focus on color perception as a key aspect of filmmaking?

My journey into film began with a deep-seated love for visual storytelling, heavily influenced by my surroundings in Delhi—a city where every street, festival, and season brings with it a palette of colors and emotions; it was followed by my return to my city of birth, Kolkata. I was exposed to an array of arthouse brilliance such as 400 Blows, Novembre, some Truffaut’s classics and some of Milos Forman classics too. That was indeed a time where I was dealing with something deadly and Cinema turned up to be a savior in disguise.

Early on, I was drawn to how visual elements could transcend dialogue. Watching the works of masters like Ritwik Ghatak and later, Tarkovsky and Kieslowski, I realized that color was not just a decorative element but a language in itself.

My focus on color perception stemmed from this realization. I believe that colors can evoke emotions, guide the viewer’s subconscious, and even manipulate time and space within a narrative. Filmmaking, to me, is not just about crafting a story but about creating an immersive emotional experience—and color is integral to that. Speaking of this, the films, Three Colors Blue and Three Colors Red played pivotal parts.

The Social Digest: What are some defining moments or projects in your career where you realized the impact of color on storytelling?

Three projects stand out. In Cactus, I used an extremely minimalist color palette, focusing on shades of beige, white, and muted greens. The stark, almost barren look was a metaphor for the protagonist’s internal emptiness and struggle with isolation. The absence of vibrant colors accentuated the character’s sense of detachment, creating a visual representation of emotional desolation.

In Jharokh, the interplay of light and shadow was paramount. We used a warm, earthy palette, dominated by ochre and burnt sienna, to reflect the nostalgic and poetic undertone of the narrative. The transitions between warm and cool tones mirrored the protagonist’s journey from longing to self-discovery.

In The Zebras, we embraced a cold, metallic palette and intertwined it with warm palettes, with an emphasis on the ignition of greys, blues, and silvers with a chromatic element symbolising fire in each frame. This choice was deliberate, highlighting the intersection of human emotion and artificial intelligence. The sterile colors created an environment that felt both futuristic and emotionally distant, reinforcing the theme of the disconnect between man and machine.

The Social Digest: How would you describe your methodology in approaching color perception in your films compared to conventional practices?

Conventional practices often treat color grading as a post-production step, but for me, color is a narrative tool that is integrated from the script stage. My methodology involves several key steps:

• Script-to-Color Mapping: As I develop the script, I map out a color arc for each character and major plot event. This arc is based on the emotional trajectory of the story.
• Pre-visualization: I work closely with my cinematographer to create mood boards and color references. This ensures that every department, from costume to production design, understands the color scheme and its narrative significance. This statement is fake at times; I rarely collaborate with my DoPs and costume designers from the stage of inception. They come into play when I have designed the blueprint already.
• Color Theory and Psychology: I delve into color theory and its psychological impact. For instance, warm colors like yellow and orange can evoke comfort or nostalgia, while cool colors like blue and green can create a sense of calm or melancholy.
• Dynamic Color Transitions: In certain scenes, I use dynamic transitions to reflect changing emotions. This requires precise lighting setups and post-production grading to achieve seamless shifts.

The Social Digest: Could you elaborate on why color perception holds such importance in the filmmaking industry? How does it shape the viewer’s experience?

Color perception is vital because it operates on a subconscious level, often influencing the viewer’s emotions before they even register what they’re seeing. It can establish mood, indicate time and place, and even foreshadow events. For example, in Cactus, the muted color palette immediately signals a sense of isolation and desolation. This prepares the audience to engage with the character’s internal struggles. Similarly, in The Zebras, the cold, sterile colors create an emotional distance, aligning with the film’s exploration of AI and human emotion. Color also interacts with other elements like texture, lighting, and movement, creating a cohesive visual language that enhances storytelling.

The Social Digest: How do you decide on a color palette for a specific scene or character? What factors come into play when choosing these colors?

Deciding on a color palette is a multi-dimensional process involving:

• Character Psychology: I analyze the character’s emotional state and journey. For instance, in Jharokh, the protagonist’s evolution from despair to hope is mirrored through a gradual shift from darker, muted tones to warmer, more vibrant hues.
• Scene Context: The narrative function of a scene dictates its color scheme. A scene depicting conflict might use contrasting colors to create tension, while a serene moment might rely on harmonious tones.
• Lighting Conditions: Natural and artificial light sources impact how colors are perceived. We often conduct test shoots to observe how different lighting setups affect the chosen palette.
• Cultural Symbolism: In an Indian context, colors have deep symbolic meanings. For example, white can signify purity or mourning, depending on the context.

The Social Digest: Are there certain colors that you feel are universally more effective in conveying emotions or themes? If so, could you share examples?

Certain colors have universal emotional connotations:

• Red: Often associated with passion, danger, or urgency. In The Zebras, hints of red were used sparingly to indicate moments of heightened emotion or conflict.
• Blue: Evokes calm, sadness, or introspection. The cold blues in The Zebras reinforced the film’s themes of isolation and detachment.
• Yellow/Gold: Signifies warmth, hope, or enlightenment. In Jharokh, golden tones were used to signify moments of self-realization and peace.
• Green: Can represent nature, renewal, or envy. In Cactus, muted greens were used to create a sense of stagnation and entrapment.

The Social Digest: Can you walk us through a scene from one of your films where color played a pivotal role? What was your thought process behind the color choices?

In Jharokh, there’s a scene where the protagonist sits by a window (the titular “jharokh”) in his wheelchair, contemplating his past and looking through the window and the exterior appears blue, symbolising liberty. The scene starts with a dusky, amber light, casting long shadows, symbolizing the weight of memories. As the scene progresses, the light softens, turning golden, signifying acceptance and hope.

The decision to use amber and gold was deliberate. Amber evoked a sense of nostalgia, while the shift to gold represented a turning point in the character’s emotional journey. We used natural light filtered through diffusers to achieve this effect, enhancing the authenticity of the moment. The very thought of getting a hold of liberty yet unable to do so, is fascinating for me. 

The Social Digest: How do you balance the colour palette with other visual elements, such as lighting, set design, and costume design, to create a cohesive scene?

Balancing the color palette requires meticulous coordination between departments:

• Lighting: Lighting is paramount. For The Zebras, we used cool LED lights to maintain the film’s cold, sterile look. In contrast, Jharokh relied on warm, natural light.
• Set Design: The sets are designed to complement the color scheme. For Cactus, the sparse, minimalist sets reinforced the film’s austere palette.
• Costume Design: Costumes are chosen to either blend with or contrast against the background, depending on the narrative need. For pivotal scenes in Jharokh, we used costumes in earthy tones to create harmony with the set.

The Social Digest: Have you encountered any challenges when applying your color-focused methodology? How do you overcome these, particularly in collaboration with other departments?

One challenge is achieving the desired color balance within budget constraints. For Cactus, we overcame this by using natural light and minimalist sets. Communication is key; I hold extensive pre-production meetings with each department to ensure everyone understands the visual language we’re aiming for.

The Social Digest: How do you believe audiences interpret color in your films? Have you observed any cultural or psychological nuances in their responses to color?

Audiences often respond to color instinctively. In India, colors like red and white carry specific cultural meanings, but even international audiences connect emotionally with the palettes. Feedback from The Zebras screenings highlighted how the cold palette evoked a sense of detachment, aligning with the film’s themes.

The Social Digest: In your view, how does color contribute to a film’s emotional tone, and how can it influence the audience’s perception of a character or situation?

Color sets the emotional tone and can subtly influence how a character or situation is perceived. A character in dark, muted colors might seem reserved or melancholic, while one in bright, vibrant hues might exude optimism. This subconscious influence shapes the audience’s emotional engagement.

The Social Digest: Have you received feedback from audiences that made you rethink or refine your approach to color in storytelling?

Yes, after Cactus premiered, viewers noted how the stark palette intensified the emotional impact. This feedback encouraged me to explore even more minimalist approaches in future projects.

The Social Digest: Where do you see the role of color in the future of filmmaking, especially with advances in technology?

With advancements in AI and virtual production, filmmakers will have unprecedented control over color. I foresee more dynamic, interactive films where color changes based on audience input, creating personalized emotional journeys.

The Social Digest: What advice would you give to aspiring filmmakers who want to explore the use of color perception in their projects?

Colour, when harnessed with intent, can evoke profound sensations that words or actions often cannot. To aspiring filmmakers who wish to explore this realm, I offer a few guiding principles drawn from my own journey.

1. Understand the Emotional Palette

Every color carries a psychological weight. Red isn’t just passion—it’s rage, danger, and sometimes, a quiet longing. Blue can soothe, but it can also isolate. Before assigning a color to a scene, ask yourself: what emotion am I amplifying here? Don’t just think in binaries. Colors can be layered, much like emotions themselves. Think of Kieslowski’s Three Colors trilogy, where color dictated not just mood but also ideology.

2. Cultural Context is Key

As someone deeply rooted in Bengal’s cultural fabric, I cannot stress enough the importance of cultural context in color perception. The color white, for instance, holds vastly different meanings in Western and Eastern cultures. In the West, it’s purity; in India, it’s often associated with mourning. When crafting a narrative, understand how your audience perceives these visual cues. It’s this duality that often adds depth to a story.

3. Experiment with Saturation and Lighting

Color is not merely about choosing a tone but how that tone interacts with light. A highly saturated frame can feel dreamlike, while desaturated tones can evoke a sense of realism or despair. I’ve often played with shadow and light to distort or enhance colors. A candle-lit scene can turn a simple yellow into gold, hinting at nostalgia or a fleeting moment of hope. Think of Barry Lyndon and its candle-lit elegance.

4. Use Color as a Narrative Device

Color should never be ornamental. It should have a purpose. In my film Muted Silhouette – Alpviraam, colors weren’t just visuals—they were part of the cycle of life. The progression from monochrome to color mirrored the character’s journey through birth, death, and rebirth. Similarly, you can use colors to signify time shifts, character transformations, or even impending doom. Let your colors tell their own story.

5. Trust Your Instincts, but Stay Open

While I encourage intuition, always remain open to learning. Sometimes, your cinematographer or production designer will see colors differently. Collaborate. Create mood boards, sketch ideas, and engage in discussions. The final frame is always a collective vision.

6. Draw from Nature and Art

For inspiration, look around you. The changing shades of a sunset or the muted tones of a foggy morning can be more evocative than any pre-set color palette. Art, too, can be a treasure trove. Explore Van Gogh’s intensity or Monet’s subtlety. These masters understood how colors breathe life into stillness.

7. Be Bold, but Don’t Overwhelm

Finally, remember that color should enhance, not distract. A film that overindulges in visual spectacle can lose its emotional core. Balance is key. Be bold, but know when to let simplicity take over. Sometimes, the absence of color—the muted greys and shadows—can scream louder than the brightest reds. In closing, colour is a dialogue. It speaks to your audience, often in whispers, sometimes in shouts. Listen to it. Let it guide your storytelling, and remember—cinema is, at its heart, a visual art. Treat color not just as an accessory but as a character in its own right.

The Social Digest: Are there any projects or concepts you’re currently working on that explore new dimensions of color perception?

Well, I am currently working a lot on Absurdist Theatre and the amalgamation of Theatre with visual arts. Yes, even in performing arts, colors play a big role similar to that of Cinema. Mostly, when I am talking of absurdism in the arts, I am open to exploring a lot of variations in color perception. I am trying to impart the sense of smell and taste to the audiences in the form of theatrical performances, something that Cinema cannot provide.

This interview was conducted by The Social Digest on 24/12/2024. If you have any interview recommendations or have a story that you want to share with our readers, write us at editor@thesocialdigest.com