Anusri Sabariperumal: The need to tell stories coursed through my blood. I had an insatiable hunger to create, and that was all I knew. I instinctively followed it

Before the professional cameras, there was your mom’s phone and a group of friends making short films. Looking back, what did that early instinct to capture stories tell you about who you would become?

When I filmed stories with my friends, I did it purely for fun. I gravitated toward the camera and wanted to emulate what I saw on screen. As I grew older, I found myself writing stories and was genuinely surprised that my friends and classmates wanted to read them.

It is almost comical how unaware I was that I could turn filmmaking into a profession. As a teenager, when I became interested in photography, I would switch to taking videos while traveling. Later, I learned how to edit them so I could create films to look back on.

The need to tell stories coursed through my blood. I had an insatiable hunger to create, and that was all I knew. I instinctively followed it.

Your work draws so much from music videos and dance films—forms in which rhythm and movement take the lead. How do music and choreography shape the way you frame and move the camera?

I’m inspired by how movement, lighting, and composition can tell a story without relying on dialogue. These influences have taught me to create visuals that feel expressive, emotional, and engaging.

Music is a key part of my creative process. I often build playlists before filming because the rhythm helps me visualize camera movement, shot pacing, and the emotional flow of a scene. This allows me to create films that feel natural and immersive.

You describe yourself as someone who loves experimenting with shots. Can you take us inside your process when you’re chasing an image no one has quite seen before?

My filmmaking and cinematography style has been shaped by my love for music videos and dance. These influences have taught me to create visuals that feel expressive, emotional, and engaging.

I also value simplicity. I believe great cinematography isn’t about having the most expensive equipment; it’s about making the most of what you have. By using natural light, practical locations, and thoughtful composition, I aim to create authentic visuals that connect with audiences. My goal is to tell honest, visually compelling stories that leave a lasting impression.

Cinematography is often invisible when it’s done well. How do you think about leaving your own signature on a project while still serving the story?

One of the main things I focus on is sitting with my ideas long enough to know them inside and out. When you work on stories for a long time, you discover things you would never have imagined, and they can evolve in the most beautiful ways.

From there, I begin creating mood boards. I like to write down the themes and decode the scripts to gain a deeper understanding of the characters and justify my creative choices. Storyboarding is my best friend, as it helps me visualize the characters’ movements and develop appropriate camera movements.

I compose each shot based on how I interpret the scene and the relationships between the characters on screen.

You’ve worked across every stage, from the earliest planning through the final edit. Which stage feels most like you, and which one has taught you the most?

I find the pre-production stage the most enjoyable because I get to play with ideas and decide how best to represent them. Through working on multiple projects, I have realized that the more time I spend on pre-production, the less stress I experience during filming.

I enjoy production as well because I get to practice my craft and see my visions come to life. Editing is the thread that brings everything together. In a way, they all feel like “me,” since one part cannot exist without the others. Even when certain stages feel tedious, the final product always makes them worthwhile.

When you set out to create what you call a strong visual product, what tells you an image is truly working, beyond it simply looking good?

You can tell an image is working when it stops being merely an image and becomes a moment—a story. When the audience feels the relationship between the characters and their environment on a deeper level, they can also discover their own connection to it. That is when I know my work has transcended the screen.

I tend to show rather than tell. Every cinematographer has their own visual language, which they use to highlight a story’s themes and mood. I gravitate toward adding symbolic elements, such as creating contrasts between planes and angles or choosing between flatter and deeper images.

Creating a good image is almost like creating a hook that draws viewers into your world. The audience should be asking questions and reflecting rather than simply consuming what they have been given. Cinematography has as much to do with world-building as writing the script does. Without a strong visual product, the story can fall flat.

So much of your work happens alongside other creatives. What does a strong creative collaboration feel like to you, and what tends to break one?

Being open to ideas is a major part of collaboration for me. Someone may be better off working alone if they cannot embrace creative differences. The purpose of collaboration is to create a product that reflects each individual’s aesthetic style—a blend of cultures and lived experiences. There is always a middle ground to be found when giving birth to something beautiful.

At the same time, collaboration also means standing up for certain ideas and convincing those around you to trust your vision. This is where trust becomes essential; without it, any relationship is bound to crack.

I have experienced several moments when friends I was collaborating with could not yet see my vision but chose to trust me anyway. Their trust not only gave me confidence but also made me more determined to do my best. A creative collaboration should uplift everyone involved.

You’re based in Chicago, a city with its own texture and creative energy. How has it shaped your eye and the kind of work you’re drawn to make?

Chicago is known for its artists, whether in music, dance, or film. It can sometimes feel overwhelming, and I occasionally find myself comparing my work to that of others. However, I feel more inspired than frustrated.

Chicago’s vibrant art scene and creative community push me to explore and make art. The city’s creatives not only tell stories but also save lives through their work. They build strong community networks and create open spaces that make people feel safe.

Living in Chicago has also taught me how important art is in creating change and bringing people together. It has inspired me to make art for others.

Dance films ask the camera to become a partner in the movement. How do you approach filming the body in motion so an audience feels it rather than simply watches it?

A camera is a dancer’s best friend. Sometimes, the camera and dancer need to move in sync. At other times, movement can be emphasized through still yet carefully designed images that create a powerful impact.

Dance films become narrative pieces that take the audience along for the journey. Traveling through different spaces creates pockets of time that feel eternal. Rather than simply making the audience feel as though they are moving with the dancer, I focus on helping them experience each movement more intensely.

You’ve said you’re always looking for new connections and new ways to express your love for cinematography. Where do you hope that search takes you next?

I hope to discover more about myself as a cinematographer and continue honing my skills with the camera. I want to refine my style and strengthen my voice.

Creating our own work is more essential than ever. Being able to make videos feels like a privilege in a world that increasingly relies on AI to create art. I hope to create a safe space for artists like me, where we can come together and form a community that celebrates our differences and encourages unique approaches.

Model: Sarah Matos @_.sarebearr

Director of Photography: Anusri Sabariperumal @eerie_lies

Model: Jalicia Jenkins @jalsplace2nd

Assistant Camera: Louis Harrison @spukschloss

Grip: Melo Frank @pancho.the.third

Key Grip: Javier Garza @inureproductions

2nd Assistant Camera: Ashley Parro @ashl3jy

1st Assistant Director: Regan Neely @re_b9mb

Gaffer: Gonzo Gonzalez @pajaritooscura

1st Camera Assistant: Karman Kaspa @karmankapsa