Adam J. Graves’ Anuja has captivated audiences and critics alike, earning an Oscar nomination in the Best Live Action Short Film category. The film, which follows the journey of two sisters navigating the complexities of life in a rapidly shifting urban landscape, employs a raw, quasi-documentary visual style to immerse viewers in their world. Through striking contrasts in lighting, camera work, and production design, Anuja explores themes of confinement and freedom, labor, and identity. The film’s success has not only cemented Graves’ place in the industry but also opened up discussions on storytelling that is both deeply personal and universally resonant.
In an insightful conversation, director Adam J. Graves and producer Suchitra Mattai reflected on the creative decisions that shaped Anuja and the impact of its recognition. They discussed the challenges of filming in dynamic environments, the thematic significance of space and color, and how the film’s reception has influenced their future projects. While reflecting on the creative decisions that shaped the film’s visual language, Graves noted how he wanted this short film to look and why there was a stark difference between the two worlds shown in the film. “One of the things we knew from the beginning was that we wanted to shoot in a raw documentary style with a lot of handheld,” he explained. “Except for some dream sequences, we intended to use handheld camera work.” This approach was crucial in capturing the realism and immediacy of the characters’ world, making the audience feel as if they were moving through the spaces alongside them. Filming often presented challenges, but the team relied on a highly versatile camera to navigate these difficulties. “We filmed in sometimes challenging conditions and used a pretty versatile camera, the Red Komodo, which is a smaller cinema camera,” Graves shared. This choice allowed for flexibility, ensuring that the visuals remained organic and immersive.
Anuja. Ananya Shanbhag as Palak in Anuja. Cr. Courtesy of Netflix © 2025
For Graves, one of the most striking aspects of India—and something he assumed everyone on the call would recognize—was its incredible richness and diversity. “Even within a city like Delhi, you can move from one universe to another quite rapidly, with everything changing—the sound, the color palette, and the visual information you’re receiving,” he noted. This constant transformation of spaces was a central part of the film’s storytelling. “We focused on differentiating these spaces and showing the girls moving through them,” Graves continued. The garment factory, for instance, was deliberately framed as a cold, sterile environment, dominated by fluorescent lighting that emphasized its rigid and impersonal nature. In contrast, the world outside was dynamic and ever-changing, a reflection of both possibility and restriction. Moreover, the director made sure that when the girls were inside their homes, it gave the audience the feeling that they were in a safe space now, like an unborn child in a mother’s womb.
He added, “Their home in the jhuggi, their slum dwelling, is warm, with warm tones, feeling much like a Garbhagriha, almost a mother’s womb. At times, I imagine these two sisters resting in the womb of their mother, especially in the opening sequence and when they’re lying in their dwelling, which contrasts sharply with the cold factory. There’s also a contrast between the bustling marketplace, teeming with life and color, and the sterile commercial mall, where Anuja does not feel entirely welcome. She moves from the marketplace directly into the mall, highlighting a rapid shift between socioeconomic worlds. We put a lot of thought, care, and attention into crafting these different spaces, ensuring that the audience not only sees the differences on screen but also feels them through the palette, camera work, and overall portrayal.”
These visual strategies were key in underscoring the film’s themes, reinforcing the stark divide between confinement and freedom, labor and life.
It’s incredible how Anuja has resonated with audiences and critics alike, culminating in its nomination for an Oscar. The recognition has been both humbling and validating for the entire team. Beyond accolades, Anuja has opened doors for further creative exploration. Graves and Suchitra Mattai, the producer of the short film, shared that the film’s themes continue to inspire him. For Suchitra, this film has given her a sense that if the stories are deeply meaningful and accessible, they will resonate with the people of every community. And that’s what Suchirta intends to do with the stories she chooses to tell in the future. She said, “One of the things that has excited me most about this film and its reception is how art, when deeply specific, can still resonate universally. The richness of storytelling lies in its ability to connect beyond its immediate context. For us, in both the stories Adam mentioned and others we are exploring, there is an intentional global perspective. We are drawn to narratives that, while rooted in particular experiences, transcend their specificity. Our goal is to share these rich stories with our communities in America in a way that remains deeply meaningful and accessible.“
Anuja. (L to R) Sajda Pathan as Anuja, Ananya Shanbhag as Palak in Anuja. Cr. Courtesy of Netflix © 2025
On the other hand, Graves is currently working on two feature films and one is pretty similar to what viewers saw in Anuja, but in a different setting. “Yes, it has. I’m currently developing two different screenplays, both feature films. One follows a character similar to Anuja, living in a world like hers, but within a broader international framework—I’d describe it as a humanistic thriller. This project doesn’t simply extend Anuja or provide the ending some have asked for. Instead, it takes the character and places her within a larger narrative. The second project is a father-daughter story. One theme I’m deeply interested in exploring is the relationship between children and their parents, and I’m excited to delve into that in a feature-length format,” he said.
As Graves reflected on the journey of making Anuja, he acknowledged how much the experience had shaped his perspective. “I would just say the other thing is the more I’ve gotten to know…” he began, pausing thoughtfully. He continued, “When we made the film, it was just a scrappy little family project. Sushitra and myself, my brother, and some friends of friends, really put the whole thing together. It wasn’t really until we started down this whole Oscar journey that we started to get to know people who are actually in the industry.” He spoke with a mix of excitement and humility, recognizing how far they had come. However, while speaking about his journey in filmmaking, his passion became more evident with each word. He had always been drawn to stories that explored diverse perspectives, but the unexpected support and recognition for Anuja had deepened his commitment. “As I get to know people in the industry and feel the support of those who’ve fallen in love with Sajda and Ananya’s performances. I think I’m more committed than ever to telling stories with characters from different backgrounds. He leaned forward, his excitement tempered by the reality of filmmaking. “Who knows?” he mused. “Because when you make a feature film, the director doesn’t always get the final say on who gets cast.” There was an acceptance in his tone, a recognition of the industry’s complexities.
But despite that, his resolve remained firm. “One of the things I’m hoping to do,” he continued, his voice steady with conviction, “is stay involved with people working in, say, the Asian diaspora community in America.” It wasn’t just about making films—it was about creating opportunities, telling meaningful stories, and ensuring that voices from different backgrounds were heard on a larger stage.
Anuja is available for streaming exclusively on Netflix.
The post EXCLUSIVE | From Indie Roots to the Oscars: Adam J. Graves and Suchitra Mattai Discuss ‘Anuja’ appeared first on Coastal House Media.