April 15, 2025
UPDATE
Meet 4 rising filmmakers bending cultural and artistic strains with iPhone 16 Professional Max
The expertise behind this yr’s MAMI Choose: Filmed on iPhone initiatives delve into how India’s different landscapes and cultures formed their shorts
Author, director, and actor Konkona Sen Sharma believes that past expertise, a filmmaker’s most vital device is braveness.
“With iPhone, there’s a lot energy contained in such a compact package deal that you would be able to bypass the conventions of mainstream filmmaking,” says Sen Sharma, a two-time winner of India’s Nationwide Movie Awards. “All you want is a superb thought, and the center and willpower to observe by with it.”
Alongside fellow Indian movie {industry} icons Vikramaditya Motwane, Lijo Jose Pellissery, and Vetri Maaran, Sen Sharma is mentoring 4 rising filmmakers chosen by the Mumbai Academy of the Shifting Picture (MAMI) to create brief movies for the 2025 MAMI Choose: Filmed on iPhone program.
Now in its second yr, this system empowers MAMI alumni to push the boundaries of expertise and innovation, taking pictures their initiatives on iPhone 16 Professional Max and enhancing them on MacBook Professional with M4 Max. Two of final yr’s collaborating movies just lately received 2025 Critics’ Alternative Awards India for Greatest Quick Movie, Greatest Director (Quick Movie), and Greatest Writing (Quick Movie).
“Capturing on iPhone permits for full private expression,” says Maaran, writer-director of the upcoming Tamil motion thriller Vaadivaasal. He believes he’s studying as a lot from his mentees as he’s educating them. “We’re residing within the age of democracy in filmmaking.”
This yr’s MAMI Choose filmmakers — Amrita Bagchi, Rohin Raveendran Nair, Chanakya Vyas, and Shalini Vijayakumar — are discovering new cinematic worlds by the lens of iPhone 16 Professional Max.
“The distinctive voices of those filmmakers are superbly contextualized by the 4 languages and areas of India through which they’re rooted,” says MAMI competition director Shivendra Singh Dungarpur.
“These are very passionate folks with vital tales to inform,” says Pellissery, the filmmaker behind Malayalam options like Ee.Ma.Yau. and Jallikattu. “Capturing on iPhone, they’re pushing their very own limits with implausible outcomes.”
Every filmmaker leveraged the highly effective capabilities of MacBook Professional with the M4 Max chip to weave their tales collectively. “Capturing and enhancing throughout the Apple household of merchandise provides you a stellar benefit: pace,” says writer-director Motwane, whose work in movie and tv contains Udaan and Black Warrant.
That lightning-fast efficiency of MacBook Professional alongside the convenience of use of iPhone 16 Professional Max is giving these artists much more inventive management on and off set.
Navigating childhood and alter, legacy, and liberation, Bagchi, Nair, Vyas, and Vijayakumar just lately premiered their tales in Mumbai.
Creating Claustrophobia with Cinematic Mode
With a background in design, performing, singing, and songwriting, Amrita Bagchi feels she was at all times destined to be a filmmaker. “It’s like a confluence of all of the artwork varieties,” she says.
Bagchi, whose brief movie Succulent received the Grand Jury Prize on the Indian Movie Pageant of Los Angeles in 2022, hails from Kolkata, the town in West Bengal, India, that has produced cinematic stalwarts like Satyajit Ray and Mrinal Sen. It’s additionally the house of many a spooky story.
Her new brief movie, Tinctoria, is a psychological thriller impressed by an precise historic occasion: the indigo revolt that arose in Bengal in 1859. It tells the story of a modern-day trend mogul whose ancestral legacy is constructed on the skeletons of indigo farmers from the colonial period — the ghosts of whom fairly actually come again to hang-out her.
To create the immersive, claustrophobic environment of a thriller, Bagchi is partaking Cinematic mode for the movie’s opening montage. “We’re monitoring bubbles and plastic sheets flying by the air, and the depth of subject is so clear,” she says. “Identical to it’s shot on an enormous, high-budget cinematic digital camera.”
Bagchi believes her movie might by no means have been shot by conventional means.
“It was a really formidable manufacturing, however with iPhone 16 Professional Max, I can consistently create and improvise,” she says. “That edginess of motion, it’s like visible rap.”
With graphically demanding workflows — like overlaying the industry-standard Rec. 709 colour area on ProRes Log footage captured on iPhone — she is stunned that her M4 Max MacBook Professional hasn’t lagged as soon as.
“It’s like a rocket machine,” she says. “On a decent schedule I can simply shoot at 4K120 fps on my iPhone, and nonetheless have large flexibility to vary the pacing throughout the edit on my MacBook Professional.”
The theme of legacy runs sturdy with Bagchi, and never simply in her movie. “We need to emulate pioneers like Satyajit Ray. He didn’t let the conventions of his time dictate his story,” she says.
ProRes Paints a Coastal Canvas
“Regardless that I grew up in New Delhi, I’ve at all times been uncovered to Kerala’s courageous, daring cinema,” says Rohin Raveendran Nair, a director, author, and cinematographer whose credit embrace Netflix exhibits like Sacred Video games and Black Warrant.
Nair’s brief movie Kovarty takes him again to his roots within the coastal metropolis of Alleppey. A love story tinged with magical realism, it showcases the connection between a typewriter and typist. Qwerty, because the typewriter is christened, is slowly reworked by the lilting native accent into Kovarty. This acts as a metaphor for the movie’s main theme: change.
The prospect of taking pictures on iPhone 16 Professional Max was instrumental in Nair’s selection of narrative. “Utilizing iPhone’s small kind issue, I might place the digital camera contained in the typewriter and seize its POV,” he says. “This, together with sensible results with fish wires, helps convey the gadget to life.”
Nair is framing his viewpoint pictures in a 4:3 facet ratio to emulate the verticality of a sheet of paper. These are juxtaposed towards a wider 2:1 facet ratio when capturing the expansive backwater landscapes. For some old-world attraction, he additionally makes use of a bloom filter to create a halo across the highlights.
Nair believes iPhone 16 Professional Max will complement Alleppey’s vivid blue-greens.
“At some point our location is vivid and sunny, the following it’s cloudy and gloomy,” he says. “The digital camera captures such wealthy element with ProRes Log in all types of lighting conditions.”
Motion Mode Helps Lower By the Noise
For his new brief movie Mangya, educator and thespian Chanakya Vyas discovered inspiration in an uncommon place. “It could appear out of date, however a newspaper is a superb place to find tales,” he says.
Vyas — whose brief movie Lavatory was nominated for Greatest Quick Movie (Narrative) on the New York Indian Movie Pageant — went down a rabbit gap after studying an article about an avian flu outbreak in suburban Mumbai. That, mixed with the devastating lack of his golden retriever, impressed his new brief movie.
Mangya is a coming-of-age story about an 11-year-old boy and his pet, the titular rooster. “Dropping a pet could be very completely different from the lack of one other individual,” muses Vyas. “What began out as a narrative a few lonely boy, finally grew to become one about letting go.”
For a key scene within the movie, Vyas is monitoring his actor for 1,000 ft simply earlier than the break of daybreak.
“There’s no time to mount the digital camera on a conventional gimbal,” he says. “However with Motion mode, I might even shoot a number of takes. The stabilization is simply so spectacular.”
Recording clear sound in a rustic as loud as India could be tough, however Vyas is incorporating the cacophony into his milieu.
“We’re in a position to layer footsteps, the rooster crowing, and the whirring sound of a fan with distinct readability with the studio-quality mics on iPhone 16 Professional Max,” he says. “The native audio is that good in its bit price and cadence.”
Out amid the rooster coops whereas on set, Vyas depends on the nano-texture show of his MacBook Professional, which dramatically reduces glare and distractions from reflections coming from the overhead solar as he critiques the continuity of his pictures. Nano-texture is a game-changing expertise when working open air.
“For a director, a very powerful factor is how the footage will prove,” Vyas says. “Fortunately the Liquid Retina XDR show on my MacBook Professional provides me an correct illustration of the particular colours we are going to see within the completed model.”
Screaming in Gradual Movement
Rising up in a conventional Tamil-speaking house in Chennai, filmmaker Shalini Vijayakumar liked listening to tales about her mom’s massive household. “Some was once humorous, others have been unhappy,” she says.
“Some have been about an uncle who used to speak to ghosts,” she continues. “As a 6-year-old, I’d think about myself in my mother’s place — filled with tales to inform.”
Her influences all come collectively in her new brief movie, Seeing Pink, a comedic horror movie concerning the quashed feelings of the ladies in a big Tamil family.
Set within the Nineteen Eighties, the movie begins with three completely different girls screaming in horror after seeing a ghost. It ends with them screaming to precise a collective, repressed rage. “It’s like a journey from being scared to being offended,” she says. “The actors get pleasure from simply attending to shout on the prime of their lungs. And I scream with them as a result of I’m additionally letting all of it out.”
To depict the scream, Vijayakumar is inverting a historically masculine visible gadget from Tamil cinema utilizing iPhone 16 Professional Max. “I name these the ‘mass pictures’ the place the heroes stroll dramatically in gradual movement,” she says. “I’m doing that for the ladies in 4K120 fps, and it seems fabulous.”
For extra tightly framed pictures, the 120 mm lens on iPhone 16 Professional Max permits her to convey collectively her narrative, staging, and theme in a single shot that she composed utilizing Procreate on iPad.
“Utilizing the 5x Telephoto lens, I’m in a position to place the lads in entrance as they talk about the destiny of the ladies within the background,” Vijayakumar explains. “There’s a lot storytelling in that one body by that individual lens.”
For all of the complexities of theme, expertise, and method, each Vijayakumar and Seeing Pink possess an ephemeral lightness of spirit. “My hope is that everybody has enjoyable and remembers that girls screamed in it!”
Vikramaditya Motwane, the award-winning director and program mentor, is satisfied the 4 MAMI Choose filmmakers can carry ahead the legacy of visionaries like Orson Welles and Satyajit Ray. “These filmmakers could be the pioneers who take the digital camera to locations we’ve by no means seen earlier than,” he says.
Watch these 4 brief movies on the MAMI YouTube channel.
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