 In filmmaking, I think probably in every artistic creation, one feels that in the process of creating, you discover yourself and also you reveal yourself. So that process goes on. It's been a journey of continuous discovery for Adul Gopala Krishnan, perhaps India's most significant contemporary filmmaker. Through eight films and 25 years, Adul has explored life, culture and politics in Kerala with sensitivity and insight that is beyond replication. Born in 1941 in the village of Adul and Kerala, a southern state of India, Adul's early passion was a stage and he made his debut as an actor at the age of eight. His family was recognized for its patronage of Kathakali, Kerala's traditional classical theatre and had in its midst performers and rassikas of great merit. His early work dealt with the human condition. It later involved to encompass moral dilemmas in a changing world. His cinema is not didactic. It is a sharing of insights and experiences. I had to use color very very carefully because each element of color had to mean something. It had to promote a traumatic purpose and I couldn't waste any color. So I had to very very even deliberately, schematically use color in that film. Basically I used red color for the youngest girl and the eldest sister was predominantly using shades of green and then the middle one was using blue shades of blue. It is not merely human characters in Adul's films that hold center stage but the spaces he uses as well. The house was very much an inseparable part of the whole film. There also I decided that I will have long long takes. I never show the house in full anywhere in a long shot. The house itself was just evolving like the other characters. Adul's films reflect a complete mastery of his form. There is great attention to detail. Apart from the range of subjects he handles, very few Indian films are such complete or turd films as his are. As Adul pauses between films, memories and insights of the enigmas of life strike new chords and a new ordering for a new film to come.