“Changing gears from the understated domestic palette, cinematographer Farhad Ahmed Dehlvi captures a place where everything seems to glow as if lit from within.” - Sheri Linden (THR)

“It’s also worth noting how adroitly cinematographer Farhad Ahmed Dehlvi captures both the light and dark sides to Florida life, in which the sunniest settings often hide shadowed interiors.” - Elizabeth Weitzman (The Wrap)

“Sargent and her DP Farhad Ahmed Dehlvi have an unhurried, unadorned approach, capturing these obstacles and hurts without pretense or melodrama.” - Robert Daniels (Roger Ebert)

“DP Farhad Ahmed Dehlvi shoots the film with a dark tint, ably capturing the murky, humid atmosphere that makes this home even more oppressive.” - Wilson Chapman (Indiewire)

Filmmaker: A large portion of the film takes place inside Anna’s house, which of course, despite the cliche, really is its own character. How did you work with your DP Farhad Ahmed Dehlvi to find so much dimension? I feel there were many subtle differences in the ways the house feels across the multiple stages of the story. So could you say more about how you and Farhad found different camera angles, camera positions or lighting?

Sargent: You know, it was a very quick prep, but Farhad is excellent at and loves prep. It was pretty intensive and I feel like it was more like he was like interviewing me, asking me a billion questions. That sort of defined a lot of it. We always wanted it to be pretty flexible because we wanted Anna to not be confined.

…

When we would block it, we would find that Anna would want to be in a certain area or she wouldn’t move from a certain area. We couldn’t get her to do timed blocking. So in that moment, we had to adjust the entire shot list and the treatment. So a lot of it, after all of this prep that we developed together, was off of instinct. Disabled people adapt every single day of their life. So it was interesting to see the crew who was able to adapt, and the crew that had trouble, because there’s a lot of people who have ideas about how a film is supposed to be made. People like Farhad—who could shift within the look that we had developed—are incredible to me.

It was a real puzzle and such a challenging shoot for all of the reasons I just said. Sometimes the time of day would totally change. In the edit, we had to rework it based off of what we got. Farhad is incredible and he always made everything look beautiful. I think everybody—including the costume department, who had to shift and do the math on the continuity—are incredible to me. Just the best. I think it all came out of a lot of love and knowing that this is Anna’s film.

ZEISS CP.3 Lenses - Farhad Dehlvi discusses the new CCR Music Video

Farhad Dehlvi recently shot Creedence Clearwater Revival's "Have You Ever Seen the Rain" for its 50th anniversary!

SXSW 2021 | ZEISS - BEHIND THE LENS WITH RISING CINEMATOGRAPHERS

Join ZEISS for a lively panel discussion with three up-and-coming cinematographers showcasing their work at SXSW. Learn about the cinematographer’s creative choices behind their festival film – from an artistic and technological perspective. During this candid conversation we'll examine how on-set protocols have changed since the pandemic, and predict where we think the industry is headed.

THE SUNDAY GUARDIAN | ‘I learned a lot from Ang Lee & Vishal Bhardwaj’

Farhad Ahmed Dehlvi is an Indian cinematographer who has made waves after winning the “Best Cinematographer Award” at the recently-held Asian Film Festival in Los Angeles. Dehlvi won the award for his work in the sci-fi film, A Crimson Man (2017). He speaks to Guardian 20 about, among other things, the challenges of handling the camera in a sci-fi flick.

THE NEW INDIAN EXPRESS | 'A Crimson Man' homage to the early science fiction, says cinematographer Farhad Ahmed Dehlvi

Indian artist Farhad Ahmed Dehlvi won the Best Cinematographer Award at the 'Asians on Film: Festival of Shorts 2018' held in Los Angeles for "A Crimson Man".