Illuminating Worlds: The International Vision Of Director Of Photography Anubhav Kaushish

In an era when Indian cinema and digital storytelling travel instantly across borders, Director of Photography Anubhav Kaushish stands out as an established visual craftsman whose work is recognised and celebrated across continents. Far from being an emerging name, Kaushish has already built a body of work that spans acclaimed short films, major music collaborations, and widely viewed documentaries, each project reinforcing his authority behind the camera. For readers in India, his career offers a clear example of how an Indian cinematographer can convert local and cross‑cultural stories into images that speak fluently to audiences in Asia, Europe and North America.

His work on the short narrative film “God’s Second Best Man” (2023) is a defining example of this stature, culminating in a Best Cinematography award at the Makizhmithran International Film Festival in 2025, a juried event that selects only a limited slate of competitive entries. For a Director of Photography like Anubhav, such recognition is a professional verdict on his mastery of frame, light and emotion, not just a festival laurel. The film’s journey to the Bridges International Film Festival in Greece further situates his cinematography within a serious global conversation, where Anubhav Kaushish’s images are evaluated alongside contemporary world cinema by experienced industry figures.

This international circulation extends well beyond Europe. “God’s Second Best Man” has been showcased at the Goa Short Film Festival, the West Bengal Short Film Festival and the Himachal Short Film Festival, all juried platforms that play an important role in India’s independent cinema ecosystem. Each selection signals that stories interpreted through Kaushish’s lens can withstand rigorous curatorial scrutiny while still resonating with regional audiences. A curated screening at The Great Film Club in Los Angeles further underlines how the visual language of Anubhav’s work travels—his images connecting just as readily with discerning urban viewers in the United States as they do with audiences at home.

For a broad Indian readership, perhaps the clearest measure of his global reach is the music video space. As Director of Photography for the official music video “Keh Na Sake” (2025), led by legendary playback singer Kumar Sanu, Anubhav Kaushish shaped the visual world of a project that has been watched by more than 7.6 million viewers on YouTube. Working primarily with natural light and minimal fixtures, Kaushish devised a visual strategy that maintained elegance and continuity in shifting outdoor conditions, proving that cinematic sophistication is possible even without heavy‑duty equipment. The partnership of a Padma Shri–honoured vocalist with the refined, filmic aesthetic crafted by Anubhav turns this video into a strong example of how Indian popular music can be presented on a global digital stage without compromising on visual ambition.

His ability to balance artistry, documentation and audience engagement is also evident in the behind‑the‑scenes documentary for “Finding Her” (2025), a mini‑film that has crossed 3.3 million views on YouTube. In this project, Kaushish—credited as the lead cinematographer—follows the collaboration between American singer‑songwriter Alec Benjamin and South Asian artist Kushagra, but chooses to frame the process not as a routine making‑of, rather as a self‑contained narrative. By combining intimate handheld moments with stylised wide shots that echo the polish of the primary music video, Anubhav transforms production reportage into a story about creativity that is accessible to viewers around the world.

Beyond music, the narrative work of Anubhav Kaushish has also found its place on international circuits devoted to independent and genre cinema. As Director of Photography on the thriller‑drama “Date Night” (2024), he oversaw a tightly constructed visual design that helped the film secure an Official Selection at the Goa Short Film Festival, known for its competitive, jury‑driven programming. Working within the constraints of confined interiors, Kaushish developed detailed shot lists, storyboards and a cohesive colour palette that maintained both tension and clarity, displaying the discipline expected from a seasoned Director of Photography trusted across all stages of production. In “The Box” (2023), a horror short that he both directed and shot, his images travelled to the Monster Pool Horror Festival in Ottawa and to screenings in Los Angeles, asserting that a cinematographer like Anubhav can shape the visual language of genre cinema in North American independent arenas just as convincingly.

Taken together, these international achievements place Anubhav Kaushish firmly at the centre of contemporary visual storytelling rather than at its margins. Festival juries, curated screening platforms and vast online audiences are responding to his work as part of the mainstream of global cinema and digital narrative, not as a curiosity from abroad. For the Indian film community, his path illustrates how a Director of Photography, already established in craft and vision, can build a career in which Indian‑rooted sensibilities are not only visible overseas but consistently recognised and honoured there.