“Yamare Lake: Finding a story in Still Water” — A Conversation with Director Sharan Ranjit
Yamare Lake: Finding Story in Still Water
In Conversation with Director Sharan Ranjit
When Amazon’s Climate Pledge partnered with local environmental efforts to rejuvenate Yamare Lake in Bengaluru, Qrious Creative Media stepped in to tell the story. The result was Yamare Lake—a short film with the emotional texture of a feature and the immediacy of a documentary. We spoke to director Sharan Ranjit about how the film came together, the creative risks they took, and the power of real people telling real stories.
1. What first drew you into the world of directing ad films, and how did your journey lead you to the Yamare Lake film with Qrious?
You know, my entry into the world of ad film directing was a bit of a happy accident, really. It all started with my mentor, Anup J Kat. I spent about eight years at his production house, 1st December Films, and naturally, being around a cinematographer of his caliber, I initially thought I'd follow that path too. But as I worked on projects, I realized I was more drawn to shaping the narrative, to telling the story through the visuals, rather than just crafting the visuals themselves. That's when I knew directing was where my passion lay.
And the Yamare Lake film? That was pure serendipity. Another director was initially slated for the project, but due to scheduling conflicts, it landed in my lap. I'm incredibly grateful it did because it gave me the opportunity to approach it with a real storytelling lens, almost like crafting a mini-feature film. It was a chance to really delve into the narrative and create something truly impactful.
2. Looking back at the Yamare Lake film, who or what inspired your visual storytelling choices for that project?
It's hard to pin down one single inspiration for the Yamare Lake film. It really felt like a blend of everything I've absorbed over time—years of watching films and diving into research. Honestly, a lot of it came from just reflecting on my own background and the world around me. And these days, inspiration is everywhere, isn't it? Instagram and Vimeo have been incredible resources for visual ideas.
But more than anything, the story itself was the driving force. It was such an important message, and I knew I wanted to avoid the typical, linear visual approach you see in most corporate films. I wanted to create something that felt more authentic and resonant, something that broke away from the usual mold.
3. When you first received the brief for Yamare Lake, how did you begin visualizing the mood and flow of the film?
So, when I first got the script for Yamare Lake, honestly, I just dove right in. I read it over and over, trying to really live in those scenes, you know? Like, I wanted to know them by heart before I even started thinking about how it would look on screen. That's how I figure out the feeling, the flow, the heart of the story.
Then, Gokul, my Director's Assistant, he was amazing. We really teamed up to make this thing come alive. We went down a rabbit hole of video references, watched a ton of stuff. But we were careful, we didn't want to just copy anything. We wanted to take bits and pieces, see what worked, and then twist it, make it our own. That way, everything in the film would feel real, like it belonged specifically to Yamare Lake.
And, you know, the whole thing about the water shortage? It hit me hard. I've seen how bad it's gotten in Bangalore, especially with that really rough patch we went through. It felt like the perfect time to tell this story. Pictures, moving pictures, they just stick with you in a way words sometimes don't. We wanted to make people feel what's happening, not just understand it.
4. How did you approach shot design on Yamare—from blocking and framing to camera movement—given the natural setting and emotional tone of the story?
When we were designing the shots for 'Yamare,' it was really about finding a balance. We were working with an American production house, so we wanted to make sure our visuals would seamlessly blend with theirs. That meant understanding their style and adapting to it without losing our own.
One of the key decisions was to shoot almost entirely handheld. It felt right for the raw, immediate feel we were going for. We kept camera movement minimal, allowing the natural rhythm of the environment and the characters to dictate the flow of the shots.
Speaking of the characters, they were all residents of the area, which added a real layer of authenticity. Arfan, my cinematographer, and I wanted to honor that rawness. So, before we started filming, we did a thorough recce with Gokul and our line producer. We spent time in the location, really getting a feel for the place and identifying spots where the characters naturally fit.
We relied heavily on a mix of wide and mid shots. Wide shots helped us establish the strong connection between the people and their environment, showing how deeply intertwined they were. Then, we moved into mid shots to focus on the individual stories and emotions within that landscape. It was all about creating a visual language that felt honest and true to the subject, while still fitting within the broader aesthetic of the production.
5. What was your collaboration like with the cinematographer and production designer on the Yamare film? Any moments where the synergy really clicked?
Working with Arfan, was like finding that perfect creative dance partner. We weren't strangers. We'd worked together before, and I really believe in that kind of collaborative spirit – it's something my mentor drilled into me. He just got what I was trying to achieve, and he was totally on board, no hesitation. Even with the tight schedule, we weren't about to compromise on the visuals. In fact, we ended up adding a few extra shots, and one of them became this absolute gem, our 'money shot.'
The ‘Money Shot’ that Sharan speaks of, from behind the lens.
It was a simple moment, a boy splashing water on his face, but it was so powerful. To get it right, we had to get a little creative with the production design. Since the film was all about naturalism, we kept things incredibly minimal. We asked the art director to build this custom acrylic box, basically a water-filled frame. We positioned the camera on one side, the boy on the other, and captured this stunning, almost ethereal shot of him splashing the water. It was one of those moments where everything just clicked, where the synergy between the cinematography and the design came together beautifully. It’s those kinds of moments that make filmmaking so special.
6. Was there a specific constraint—maybe budget, timeline, or weather—on the Yamare shoot that actually led to a creative breakthrough or surprising idea?
Well, 'constraint' might be a strong word, but the main challenge, if you could call it that, was definitely working with non-actors. Every production has its unique hurdles, and this was ours. My team, they were fantastic, really stepped up. They found these local individuals, people with a certain... presence, you know? A captivating smile, a genuine personality. We explained what we needed, and they surprised us all. They picked it up incredibly quickly, often getting it right within a couple of takes. It was a pleasant surprise, and it really turned what could have been a potential obstacle into a really rewarding part of the process.
7. From Yamare to your other work, how do you see the role of sound design and color grading in elevating the final film?
Honestly, sound and color in movies are like the secret sauce. You might not always consciously notice them, but they totally shape how you feel about a film. Sound design? That's how you get that creepy vibe in a thriller, or the warm fuzzies in a rom-com. It's all the little noises, the music, everything that hits your ears and pulls you in. Then there's color grading, which is basically painting with light. It sets the mood, makes things pop, and gives the whole film a certain look. Together, they just make the whole experience way more immersive and emotional. They make the movie feel real.
8. In your view, what made the Yamare Lake film effective in terms of impact or resonance with the audience?
I believe the film's effectiveness in resonating with the audience stemmed from a combination of impactful visuals and authentic human stories. We aimed to visually convey the urgency of water conservation, highlighting the stark reality of global warming's effects. The rawness of the frames, coupled with the genuine interviews from NGO members and local residents, provided a comprehensive and deeply moving understanding of the crisis. That connection to real people facing the problem daily was crucial. For instance, the shot of the elderly man's wrinkled hand tracing the cracks in the parched earth—that single, powerful image encapsulated the devastation and resonated deeply, even with my own family. It wasn't just about showing a problem; it was about making it tangible and emotionally resonant. Ultimately, I think the film succeeded because it balanced the stark visual reality with the authentic voices of those directly affected, making the issue both urgent and deeply personal.
9. How was your experience collaborating with the Qrious team—what stood out to you in the way they approach storytelling or production?
Working with the Qrious team was a truly enjoyable and collaborative experience. What really stood out to me was their warmth and open-mindedness. From the very beginning, they were receptive to my new ideas, which is always refreshing. They struck a perfect balance, giving me the creative freedom to explore and bring my vision to life, while also ensuring we stayed true to the film's core purpose. That level of trust is invaluable.
I especially want to mention Kunal the producer for the project; who was on set with us. He was fantastic. He was not only incredibly organized and efficient, but also had a great eye for detail. He was always approachable, ready to help, and his positive energy really contributed to a smooth and productive shoot. He was a great communicator and was able to translate between the vision and the practical aspects of filming seamlessly. It's rare to find a team that's both professionally skilled and genuinely supportive, and Qrious, with Kunal's contribution, definitely embodies that.
10. What kind of creative or cultural alignment did you feel working with Qrious, and how has that shaped your relationship with the team since Yamare?
Working with Qrious was just a really good fit. We were totally on the same wavelength creatively. Everyone there is super passionate about telling stories and really open to trying different things. It wasn't just about punching a clock; it was more like, 'let's see what we can create together.'
That kind of shared excitement really made us connect. Since 'Yamare,' it's only gotten stronger. We really get each other, and there's this trust where we can throw out wild ideas and know we're on the same page. It's the kind of team you genuinely enjoy working with.
11. What advice would you give to someone starting out in ad films, especially when working on purpose-driven or place-based storytelling like Yamare?
Honestly, I'm still figuring things out myself, so giving 'advice' feels a bit strong! But if I had to say something to someone just starting in ad films, especially with purpose-driven or place-based stories like Yamare, it'd be this:
First, find someone whose work you really admire and try to learn from them. A mentor can be invaluable. Don't be afraid to assist or intern; it's the best way to see how things actually work.
Second, really focus on developing your own unique style. Don't try to be someone else. Experiment, play around, and see what resonates with you.
And most importantly, research like crazy! Seriously, Google is your absolute best friend. Dive deep into your subject matter, understand the nuances, and let that fuel your storytelling. You'll be surprised what you find when you dig a little deeper.
Ultimately, it's about being passionate, curious, and willing to learn. Don't be afraid to make mistakes—that's how you grow. And, as many have said before, it's really about the journey, not just the destination. Enjoy the process!
12. Having directed Yamare and other projects, how would you describe your directorial style—and has it evolved since that first collaboration with Qrious?
Looking back, especially at projects like 'Yamare' with Qrious, I'd say my directorial style really revolves around narrative. I find myself drawn to stories that connect on a human level. I really enjoy shooting narrative story based advertisements, and dialogue oriented films. For me, it's about capturing those authentic moments, those real interactions that make a story resonate.
And yeah, it's definitely evolved. In those early collaborations, there was a lot of learning on the fly, a real sense of discovery. But over time, I've become more focused on honing that narrative drive, on really digging into the emotional core of a project.
Ultimately, all of this, every advertisement, every short film, it's all part of a bigger picture. My end goal is to make feature films. So, each project is a step in that direction, a chance to refine my storytelling, and to really understand how to connect with an audience. I am always trying to improve my skills, and learn more about the art of film making.
Closing Thoughts:
Yamare Lake isn’t just a film about water—it’s about people, memory, and resilience. In Sharan Ranjit’s hands, it became more than a campaign film. It became a quiet meditation on the human cost of environmental degradation—and a call to feel, not just understand.
