Akmal Nazer’s journey into filmmaking began long before he ever held a professional camera. Growing up in the serene backwaters of Alappuzha, Kerala, he spent countless hours with a trusty handycam, filming makeshift interviews and snippets of life. What began as childhood curiosity unknowingly shaped his creative instincts, laying the groundwork for a future he never saw coming. ​ Trained as an engineer at IIT Bombay, Akmal’s love for travel opened an unexpected door to storytelling. It wasn’t formulas or circuits but the untold stories of people, places, and cultures that captured his imagination.

 

After two formative years as an editor, where he learned to craft narratives frame by frame, Akmal found his true calling as a cinematographer. This dual foundation in precision and storytelling guides every project he undertakes. ​ Whether shooting evocative documentaries or high-energy commercials, Akmal thrives on blending visual artistry with authentic emotion. His projects range from capturing the raw rhythms of cultural traditions in Kelan - The Dancing Godand Ashura - The Mourning of Muharram to creating impactful campaigns for global brands like Renault, Jeep, and National Geographic.

 

Currently, Akmal is working on two deeply personal projects: Vai Mozhi, a documentary exploring the intersection of tribal music, identity, and displacement, and Sweeter Grass, a collaboration with National Geographic. Both reflect his commitment to stories that inspire and linger long after the credits roll. ​ His recent work as a DP includes Hoop Nation Season 2, a documentary series, and Road to Kenya, a branded documentary filmed across the villages of Kenya.

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Akmal’s style is defined by his love for natural light, his instinct for human connection, and his drive to innovate within every frame. Whether documenting the vibrant rituals of a culture or crafting the perfect shot for a commercial, his work is a bridge between the technical and the soulful, a visual dialogue that invites audiences to see the world differently and to frame them in a way that lingers, long after the credits roll.