By: Monet Anais
Before Spin The Bottle came his way, he had never worked with Paolo Cerrino (Director) or with film format but he did admire the process that comes with shooting on film. So when Paolo Cerrino invited him to do “Spin The Bottle,” the Indian cinematographer quickly signed up out of curiosity and the challenging behavior of the film. “Paolo is intentional with his work,” Darsh says. “He was keen on shooting with 8mm and 16mm Black and White, which was the only fit for the story given it’s based in 1970. But with specificity, Paolo also gave me the space and trust to create, which is when we chose Eastman Double Negative 7222 as the 16mm stock.”
Spin The Bottle is filled with naturalistic-looking interiors on 8mm and clean-looking 16mm. “Somebody told us how it’s a foolish move to choose a 60-year-old black and white stock for being our first film shot on film format, and that only validated our choice,” Darsh says. “ Without challenge and curiosity, the world you’re creating might be dull. And the massacre that this film shines light upon was nothing close to dull.”
Darsh’s name is inked in genres from sci-fi to period horror, but his recent investments are psychological dramas, thrillers, and horror films. These narratives allow him to dive into the unexplored crevices of emotional complexities and psychological undertows. As a cinematographer, his prime role hovers around capturing the heart of these stories, his craft augmenting the cinematic experience.
Photo Courtesy: Vin Straton
“Relying mainly on research, a few mentors like Thom Kou (@thom_kuo) and Dajiana Huang (@dajianahuang) were a saving grace,” Darsh says, “As I was losing sleep over shooting on film, the trust that everyone had laid on me become a driving force for extensive research. My Gaffers, Steven Dillard (@steven_dillard) and Trevor Valdez (@trev_valdez_) put immense faith in my craft. I still wonder how Paolo dared to trust me as a cinematographer to shoot on 8mm and 16mm BNW, given how new I was to the world. In 4 months of pre-production of ‘Spin the Bottle,’ I have acquired such deep knowledge of cinematography, and I wouldn’t have pushed my limits if it weren’t for Paolo Cerrino. The sweetest part of the film was how deeply the crew bonded. After the first schedule, most of us were sobbing in the parking lot at 11 PM. We all felt it; the power of creation with our bare hands was there.”
In his sincere words, “I’m from India, and when I grew older, I moved to Mumbai to work in the entertainment industry. But initially, my family wasn’t supportive of what I wanted to do. So, I started with what was accessible: street photography. Slowly, I stumbled into film with no clue how the craft of filmmaking would consume me. It’s all I can think about now.”
Navigating resistance and uncertainty, Darsh’s work in the Mumbai film industry held enough weight to earn him a scholarship from the Los Angeles Film School in Hollywood. In 2021, he made the plains of Los Angeles his new creative field, graduating from film school and catapulting straight into the industry as a full-fledged cinematographer. His work speaks volumes about his commitment, predominantly in projects owning significant personal relevance.
Darsh’s oeuvre encapsulates mainly short films, although some feature films add density to his portfolio. He tends toward stories authentic and deeply rooted in reality—narratives that explore the complexities of human experience. Specific undertones of patriarchy, disparity, and self-exploration strike a chord due to their reflection on Darsh’s own upbringing. He finds resonance in these themes and channels which drive his visual storytelling.
His contribution isn’t limited to being behind the camera. Darsh has production experience and proudly wears the cap of a co-founder of the production company HRVST. While his producer’s role is enacted for projects under HRVST, Darsh never diverts his focus from his primary obligation—that of a cinematographer. Apart from Spin The Bottle, his recent work also includes the film En El Nombre de El, scheduled for a release in six months, and a horror piece, “Amentalio,” due in late 2024.
Next in line are projects illuminating the sensitive issue of miscarriage and a tale of a boxer caught in a web of an abusive relationship, striving to protect his younger sibling. Darsh is equally committed to these endeavors, signaling his adherence to relatable storytelling that strikes a chord with audiences.
Darsh Desai’s cinematic journey is dynamic, marked by passion and a pliant understanding of storytelling. Diligently lending his vision to narratives and capturing their essence through his camera, he is a lively testament to the unflinching power of dreams. His work, an embodiment of his lived experiences, continues to inspire and evoke thought while his voice resonates through impeccable visuals. Follow Darsh and his fascinating journey on Instagram and LinkedIn.
Published by: Martin De Juan
