In Conversation with the Visionary: A Deep Dive with Vijaygiri Bava

 As a cinematographer, I have always believed that a film is not just about the story you hear, but the story you see. Recently, I had the incredible opportunity to sit down with one of the most exciting voices in Gujarati cinema today—Vijaygiri Bava. 

 From the intimate, soul-stirring frames of 21mu Tiffin to the massive, dusty battlefields of Kasoombo, Vijaygiri Sir has done it all.

I wanted to ask him not just about what he makes, but how he sees the world through his lens. Here is the transcript of our conversation. 

Me: Vijaygiri Sir, thank you for making time for this. As someone who works behind the camera myself, I’ve tracked your journey from Premji to Kasoombo. It feels like a massive leap. You went from telling very personal, grounded stories to creating a historical epic on a 16-acre set. How does a filmmaker mentally prepare for that shift in scale? 

 Vijaygiri Bava: It is a pleasure to talk to you. You know, honestly? The "scale" is just a wrapper. The core is always the emotion. 

When we did Premji, I was trying to find my voice. I was a boy from Kheralu, wanting to tell a story about struggle. When I moved to Kasoombo, yes, the cameras were bigger, the lights were massive, and we had hundreds of junior artists. But my job remained the same: to make sure the audience feels the pain and pride of Dadu Barot. 

If I start worrying about the budget or the set size, I lose the character. So, whether I am f ilming in a small kitchen for 21mu Tiffin or a battlefield for Kasoombo, I tell myself: "Just capture the truth of this moment." The scale handles itself if the emotion is real. 

Me: That’s a great point about emotion. But let’s talk visuals for a second. In 21mu Tiffin, the frames were tight, almost claustrophobic but warm. In Kasoombo, the frames were wide, dusty, and harsh. As a cinematographer, I am curious—how do you decide the "visual language" of a film before you even step on set? 

Vijaygiri Bava: That is the most important part of pre-production for me. I sit with my Cinematographer (DoP) and we don't just talk about lenses or angles. We talk about color. 

 For 21mu Tiffin, we wanted the audience to smell the food and feel the mother’s loneliness. So, the lighting was soft, practical, and the colors were earthy—browns, yellows, warm tungsten light. 

For Kasoombo, the land itself was a character. We wanted the dust, the sweat, and the harsh sun. We decided to go for a palette that felt like "faded history." We didn't want it to look glossy like a Bollywood movie. We wanted it to look like a painting that has survived a sandstorm. My brief to the camera team is always: "Don't make it look beautiful. Make it look appropriate."

Me: "Don't make it look beautiful, make it look appropriate"—I’m going to write that down! Speaking of Kasoombo, it was a huge risk. Historical dramas are expensive and difficult. What kept you going when things got tough on that set? 

Vijaygiri Bava: (Laughs) There were many tough days! The heat, the dust, the logistics of managing 500 people... it wears you down. 

But what kept me going was the story of the 51 villagers. When you are telling a story about ancestors who gave their heads for their beliefs, you feel a responsibility. You can't complain about the heat when the characters you are filming are dying for their land.

Also, my team. I work with people like Raam Mori (writer) and Gargey Trivedi (DoP) who are as crazy as I am. When your team shares your madness, the burden becomes lighter. 

Me: You often talk about "Gujarati Asmita" (pride) in your films. Do you think the Gujarati industry—Gollywood—is finally ready to compete with the South or Bollywood in terms of technical quality?

 Vijaygiri Bava: We are not just ready; we are already doing it. Look at the sound design, the color grading, and the VFX coming out of Gujarat now. 

For a long time, we were stuck in a loop of making only comedy films because we thought that’s all the audience wanted. But the audience is smart. They watch Netflix; they watch Korean dramas. If we give them poor quality, they will reject it. 

With films like Kasoombo or Hellaro, we proved that if you put money and effort into the making—the craft—the Gujarati audience will fill the theaters. We have the stories; now we are mastering the technology to tell them globally.

Me: One last question, Sir. For a cinematographer or a young filmmaker reading this blog who wants to break into the industry, what is your one piece of advice? 

Vijaygiri Bava: Stop waiting for the "perfect" camera. 

I meet so many young people who say, "I will make a film when I get a RED camera" or "I need a better lens." No. You have a phone? You have a basic DSLR? Start shooting. 

Your eye is more important than your gear. Learn to light a scene with a window and a reflector before you ask for big lights. If you can make a simple conversation between two people look interesting, you can shoot an epic later. Just start. The industry is waiting for new visions.

Me: Thank you so much, Vijaygiri Sir. That is incredibly inspiring.

Vijaygiri Bava: Thank you. Keep capturing beautiful frames! 

My Takeaway Talking to Vijaygiri Bava reinforced something I’ve always felt: Technique serves the story. whether you are using an Arri Alexa or a smartphone, if the emotion isn't there, the pixels don't matter. 

I hope you enjoyed this conversation as much as I did!