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Kalki 2898 AD held several worlds into itself—from the ruins of Kashi, the extravagant lifestyle of the Complex, the labs that hundreds of women were held in, to the rebel city of Shambala, each one was brought to life by Djordje Stojiljkovic. The Belgrade-based cinematographer and visual effects artist, who has previously worked on shorts, ad films, and documentaries, credits this to his vivid imagination and curiosity which he had since he was a child. “This ability to visualise has been a significant asset, especially while incorporating elements that aren't grounded in reality, like those found in sci-fi,” he explains, pointing out that director Nag Ashwin’s vision had provided a strong foundation for his work. “I focused on creating specific moods and atmospheres that reflect the characters' states of mind within their respective scenes. Each world had unique visual requirements. Lens choices and composition also played a crucial role in bringing these scenes to life,” he adds.
In this interview, he breaks down the visual narrative of the magnum opus, bringing a blend of mythology and science fiction to the screen, framing various characters, catering to Nag Ashwin’s vision and more...
What was Nag Ashwin's first narration to you like? How did you cater to his expectations?
Nag Ashwin's first narration to me was very brief. The whole story unravelled itself over a period of a few months. The scale of the project became clear to me on the very first day when I entered the set. From a cinematography perspective, we aimed to do justice to the story in terms of visual quality and scale. Based on the response from the audience so far, it seems we have succeeded in meeting those expectations and bringing Nag Ashwin's vision to life.
Did you take any inspiration from other films?
My gaffer Zoran and I are huge fans of the works of Italian painter Caravaggio. We created lighting atmospheres inspired by his masterpieces. As a student of cinema, I continuously study the works of those who came before me. This ongoing study helps me build and enhance the story I'm trying to tell, blending traditional influences with innovative techniques to create a unique visual experience for Kalki.
How did you create a towering presence for Amitabh Bachchan as Ashwatthama while balancing other characters on screen?
The very first scene we shot was with Mr Bachchan in the cave/temple set, and he received a big round of applause from the whole crew for it. That moment was extraordinary and made it clear that we were working with a very special actor and character. Ashwatthama was portrayed as around eight feet tall, so we had to keep that in mind when framing him with other characters. One key technique we used was strategically positioning him at the edge of the frame, often with the upper part of his head touching the edge. Additionally, we employed the classic low-angle shot to emphasise power and strength.
Could you decode the action sequences between Amitabh Bachchan and Prabhas?
In the two action sequences between Amitabh Bachchan and Prabhas, the desert-like off-sector fight was mostly shot in a studio. For this, the placement of the 'sun' was crucial as it served as the primary frame of reference. Recreating the conditions of the sun indoors is incredibly challenging. We had to ensure that the sun's position was consistent throughout the sequence, despite the characters moving all around.
For the Shambala fight, which was shot at night in exterior locations, we had to envision the set extension of the place. The stairs and the Tree of Shambala became our primary frame of reference. With the scene being moonlit and incorporating practical fires, we quickly established the ambience. This contrast in lighting and setting between the two sequences helped create distinct and memorable action scenes.
You also played with the light and shadows in many scenes. How did you create these details that translated seamlessly into the visual language of the film?
Simply put, the story is a classic case of the fight between good and evil. By carefully balancing light and darkness, I was able to create a visual language that seamlessly translates the story's themes and the characters' experiences into powerful, immersive imagery. For instance, in the Krishna scene, the director’s input was crystal clear: Krishna’s face should remain hidden, presenting him only as a silhouette. By playing with backlighting and shadows, I was able to emphasise Krishna’s silhouette, lending an air of mystery and divinity to his presence.
For the scenes with Deepika Padukone inside the truck, I wanted natural light to seep in through the ventilation holes in the ceiling. It created a more atmospheric and visually compelling setting for those scenes. As for the Supreme Yaskin scene, the location concept always included some element of water. Now, whenever water is involved, adding practical lights can work wonders. One of the go-to ideas is to create water reflections on the actors and the surroundings. So, we set up practical lights to cast mysterious reflections on the water and the actors, giving the scene an ethereal quality.
Considering the massive amount of VFX that went into the film, could you tell me how much of it was shot on the sets and inside the studio?
The sets were built as much as practically possible, and everything else had to be VFX extensions. For instance, most of Kashi and the tree at Shambala were practically built for the most part. One of the most enjoyable parts of the process for me was ensuring that the photography—the light and atmosphere of each scene—interacted seamlessly with the VFX environment. This interaction is vital because it grounds the visual effects in reality. Working closely with the VFX team, we meticulously planned each shot to ensure that the light sources, shadows, and reflections were consistent across both the practical and digital elements.
Could you recall any particularly challenging moments during the shoot? How did you resolve them and learn from them?
About 75 per cent of the production was incredibly challenging. Huge sets are always demanding, even if it’s just an empty desert scene. One of the toughest tasks we faced was recreating real locations on stage. We had to simulate the sunny desert, craft moving vehicle atmospheres, and incorporate dynamic lighting to mimic the flickering sun due to the speed and changes in direction.
Dealing with monsoons, heavy rains, and storms on the Kashi sets was particularly harrowing. There were moments when I was genuinely scared for my crew’s safety. But, thanks to my fantastic team, we managed to pull through. It felt like I gained the experience of shooting seven films in one.
Indian cinema is constantly pushing boundaries when it comes to creating top-notch visual effects coupled with cutting-edge technology. How do you see this trend?
Indian cinema has always had a rich history. In the past decade, there's been a new wave of groundbreaking filmmaking that's pushing up the overall quality. Indian cinema is bridging the gap between itself and Hollywood, often on much tighter budgets. I can only see this trend improving, with more original stories from India being brought to life by the excellent filmmaking talent in the country.