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A new generation of filmmakers is redefining independent cinema through smartphone cameras, proving that compelling storytelling no longer depends on expensive equipment or massive production setups. This year’s Mumbai Academy of the Moving Image (MAMI) initiative further highlighted how smartphone filmmaking is transforming not only the tools of cinema but also the voices and narratives brought to the screen.
Acclaimed filmmaker Sriram Raghavan, known for the award-winning “Andhadhun”, served as a mentor for the programme. According to Raghavan, filmmaking today is increasingly about creative vision rather than expensive equipment, with smartphones helping democratise the art form for emerging creators, The Indian Express reported.
From experimental one-shot dramas to lockdown-era screenlife thrillers, several Indian filmmakers have embraced smartphone cameras to experiment with new storytelling styles and production techniques. Here are some directors who used smartphones to shoot films and short projects that later earned critical acclaim and audience attention.
Fursat
Vishal Bhardwaj shot Fursat on the iPhone 14 Pro, a sci-fi romance starring Ishaan Khatter and Wamiqa Gabbi in the lead roles. Released in 2023 on Apple’s official YouTube channel, the 30-minute short film follows a man obsessed with controlling the future who risks losing what matters most in the present. The film received positive responses for its visuals and storytelling, with Bhardwaj using the theme of time travel to blend romance, fantasy and suspense through smartphone cinematography.
C U Soon
Mahesh Narayanan used iPhones to shoot C U Soon, a Malayalam screenlife thriller, starring Fahadh Faasil, Roshan Mathew, and Darshana Rajendran. It is a 98-minute film about a young man investigating the disappearance of his cousin's missing fiancée through video calls, CCTV footage and social media after a digital suicide note surfaces. Released in 2020 during the COVID-19 lockdown, the film was widely praised for its innovative storytelling format and went on to win multiple Kerala State Film Awards, including Best Director for Narayanan.
11.11
Shreela Agarwal returned to filmmaking after a career-ending boxing injury. Her short film 11.11 follows two women navigating Mumbai’s nightlife during a first date. Agarwal used the iPhone 17 Pro Max’s ProRes RAW capture and stabilisation features to shoot difficult low-light scenes across beaches and city streets while maintaining cinematic movement and fluidity.
She Sells Seashells
Ritesh Sharma’s She Sells Seashells takes viewers to Goa, where a teenage migrant girl dreams of entering an upscale seaside restaurant. Sharma used Cinematic mode on the iPhone to blur the lines between reality and imagination, creating dreamlike sequences that reflected the protagonist’s emotional world. The filmmaker also relied heavily on the device’s onboard audio tools and MacBook Pro integration to streamline sound recording and editing during production.
Iravin Nizhal
R. Parthiban incorporated iPhone-based shooting setups and lightweight mobile rigs in Iravin Nizhal, an experimental Tamil drama presented as a single continuous shot. The film was shot entirely in a single take, with 136,228 frames, but the filmmakers incurred a huge budget. Released in 2022, the film follows a man as he revisits traumatic memories from different stages of his life. It received attention for its technical ambition and was recognised by the Asia Book of Records and India Book of Records for its non-linear single-shot execution.
Jallikattu
Jallikattu director Lijo Jose Pellissery experimented with lightweight mobile setups and handheld digital cinematography to heighten the film’s chaotic energy and immersive realism. The production incorporated iPhone-shot sequences during fast-paced action scenes, enabling the team to capture movement and crowd dynamics that would have been difficult with traditional camera rigs. The critically acclaimed film later became India’s official entry for the Best International Feature Film category at the Oscars and won multiple awards, including the National Film Award for Best Cinematography.
Pathanam
Kerala-based filmmaker Robin Joy pushed the device further with Pathanam (Paradise Fall), a surreal story about an angel falling into the backyard of an atheist. The film involved outdoor shoots, action sequences, and visual effects-heavy scenes that Joy previously considered too ambitious for an independent production. Using Action mode and AI-powered editing tools on a MacBook Pro, the team completed complex sequences under tight deadlines.
The Human Experiment
Sriram Raghavan shot The Human Experiment on an iPhone as part of Apple’s “Shot on iPhone” campaign in India. Released as a short-form project showcasing mobile cinematography, the film drew attention for demonstrating how smartphone cameras could achieve a polished cinematic look with minimal equipment.
Man from the Stars
Roopa Rao adopted smartphone filmmaking techniques for Man from the Stars, a Kannada sci-fi drama imagining an extraterrestrial navigating life on Earth. The project gained attention on the festival circuit for blending speculative storytelling with a minimalist production style using mobile filmmaking tools.
Kathar Katha
Dhritisree Sarkar’s Kathar Katha (The Tale of Katha) explores the psychological breakdown of a television news anchor suffering from a rare condition that slowly seals her senses. Sarkar used the iPhone’s 8x optical zoom and Apple Log workflows to create emotionally intense close-ups and a retro cinematic aesthetic inspired by older Bengali cinema.
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