The camera (Sachin Singh) moves like a seething predator through the rugged landscape combing hearts and loins for signs of fugitive compassion. This fuming film stomps resolutely on all our cinematic perceptions to give us a fresh imminent and extremely disconcerting view of reality at the grassroots level.
Far from downplaying the seriousness of the subject at hand, Dahiya’s matter-of-fact storytelling style and Sachin's unobtrusive cinematography have the effect of further underlining the blazing intensity of their theme, so that every new development comes as a punch in the gut.
ANURAG KASHYAP, Film Director :
I used to think no one shot night as much and as good as I did, but after watching your work in "G Kutta Se" I am amazed at the way you shoot night, its simply brilliant"
Mesmerising cinematography by Sachin Kabir is a major highlight. From sunrise to sunset, gigantic hills to small cosy houses, bricks and trees to friends chasing each other in jungles, (HANSA) the film is a gorgeous work of art.
SANGEETA NAMBIAR Dir A Gran Plan :
Now when I sit on the edit and I watch all the footage, I am so amazed at the way you have painstakingly collected shot after shot, each done in its own beautiful way.
The film is shot, documentary-style, by Sachin Kabir: the roving camera and the starkness of the surroundings match the sordidness of speech and subject matter. The few visual flourishes included – a woman’s hair blown a passing train, a spectacular burning Raavan – are well judged, but there’s little beauty here, or mercy.
JOHNSON THOMAS FILM REVIEW BLOG:
The narrative is visually enchanting while retaining a deceptive simplicity in the recitation of the tale of survival that the embattled family engages in. The cinematography by Sachin Kabir lends strength and depth to the story of innocence countermanded by the travails of rural existence.