For producer Shruti Nishanth, Maaranmani is more than a genre film. “It’s a crime thriller, but it’s a love story also,” he says, describing it as a blend of romance and suspense anchored in cultural reflection. “If I have to put the theme into a clause, it’s about change… the traditional shift from one decade to the other, and how we look at our traditions right now. ”
Set along Karnataka’s coastal belt, the film draws heavily from geography and lived reality. “I would call it rooted cinema… but in an organic way. What we see there is what we try to bring to the audience.” He resists stylisation for effect, instead focusing on authenticity.
“When you step into Mangaluru, that’s an entirely different vibe. They still hold those rooted traditions in their day-to-day activities. ”
Calling himself “not a mere producer” but a filmmaker, Shruti stresses the responsibility of balancing content and commerce. “Audience is widespread. I can’t target one particular group. I don’t call it mass cinema, but I have brought in mass elements in between so it reaches all kinds of audiences.”
Convincing established technicians, he admits, is a challenge. “If I approach bigger names, they already have a basket full of fruits. My content has to speak and say, ‘Come, grab me’,” he shares.
Despite an OTT-driven market, his faith lies in theatres. “From my childhood, I’ve been a theatrical person. Big screen is always the screen. The 5.1 or Dolby experience enhances cinema in a larger way,” he tells us.
