Darshan The Art Director
Designing Dreams in Frames – The Art Director Who Shapes the Visual Soul of Cinema
In filmmaking, much is said about direction, performance, and music. But hidden behind the curtain of glamour and applause lies a creative mind that silently builds the worlds we fall in love with — the Art Director. Among these visionaries, one name continues to stand tall with an impressive blend of imagination and authenticity: Darshan.
From rustic villages to intense thrillers and vibrant romantic comedies, Darshan has meticulously crafted the backdrop of some of the most memorable films in recent years. His creative portfolio includes Dulla the Robinhood (2025), Rose Rozy te Gulab, Karda Reh Ardaas, Medal, Dil Diya Gallan, Ratsasan, and Saak. His ability to blend realism with fantasy has made him one of the most dependable and distinctive art directors in Indian cinema.
A Creator in the Shadows: Darshan’s Philosophy of Set Design
Darshan’s art direction philosophy is simple yet profound — the set should never distract, but always enhance. Whether it’s the dimly lit police station in Ratsasan or the lively floral surroundings in Rose Rozy te Gulab, every piece of design is an extension of the narrative. He views each scene as a painting, every wall a silent witness to the characters’ journeys.
He once shared in an interview, “A great set should breathe — it should react with the actors and evolve with the story. It should feel like it has a memory of its own.”
This sensibility is what sets him apart from others. He doesn’t just construct — he narrates through textures, colors, and space.
Dulla the Robinhood (2025): Painting History with Precision
One of Darshan’s most ambitious projects to date, Dulla the Robinhood (2025) demanded the recreation of colonial Punjab. From dusty village lanes to towering haveli gates, every inch of the film’s backdrop speaks of a time long past. Darshan and his team visited rural Punjab to photograph traditional architectural layouts, borrowed antique household items from local families, and sourced traditional fabrics for set dressing.
The result? An immersive, tangible past that doesn’t feel artificial. Viewers were transported — not just through the narrative, but through the silent storytelling of each mud wall, worn-out window, and vintage charkha placed strategically in the corners.
The Romantic Pulse of Dil Diya Gallan
In stark contrast to Dulla the Robinhood, Dil Diya Gallan required Darshan to step into a modern, heartwarming tale of love. This wasn’t a period film — it was present-day Punjab with a romantic heartbeat. Think rooftops with fairy lights, soft-toned café interiors, pastel-colored walls, and sunlight streaming through patterned windows.
The magic of Dil Diya Gallan lies not just in its performances but in how beautifully the spaces framed every emotion. Darshan designed homes that felt lived-in — complete with photo frames, messy shelves, and fabric textures that subtly mirrored the characters’ personalities.
Ratsasan: Tension Built Through Silence
Darshan's ability to adapt across genres found a brilliant showcase in Ratsasan, a thriller that relies heavily on mood and setting. Here, his art direction turns sinister — dingy alleys, messy classrooms, run-down interrogation rooms, and eerie basements all combine to amplify the psychological tension.
This was not a film about beauty — it was about dread. Darshan understood that perfectly. He stripped away polish and filled each space with atmospheric discomfort. His precise choice of lighting, clutter, and cold color palettes made the audience feel as anxious as the protagonist.
The strength of Darshan’s design in Ratsasan lies in its subtlety. The spaces never shouted horror — they whispered it.
Karda Reh Ardaas and Medal: Balancing Emotion with Environment
Both Karda Reh Ardaas and Medal fall into emotionally charged, socially driven narratives. While the former explores spirituality, struggle, and faith, Medal dives into patriotism, duty, and personal sacrifice.
In Karda Reh Ardaas, Darshan created simple, spiritual environments: a quiet gurudwara courtyard, a dimly lit prayer room with flickering diyas, and homely village interiors that radiated warmth. These spaces allowed viewers to pause and reflect, just as the characters did.
Medal, meanwhile, had a more rugged visual language. Army barracks, training fields, bunkers, and flashbacks to childhood homes — Darshan’s sets had to bridge the civilian and soldier’s worlds. He achieved this with symbolic contrasts: the soft, earthen tones of family homes versus the harsh, grey structures of military life. Each background strengthened the emotional transitions in the film.
Rose Rozy te Gulab: A Dream in Bloom
Romantic comedies often rely on exaggerated aesthetics — and Darshan embraced this fully in Rose Rozy te Gulab. The film’s color palette was dominated by soft pinks, pastels, and floral themes. Set in a whimsical small town, every shop, home, and roadside bench was designed to look storybook-like, yet believable.
From a rose-themed teashop to a garden where crucial dialogues unfold, every set was playfully romantic. What makes Darshan’s work impressive is how he managed to avoid kitsch — instead, he created charm. His ability to add just the right amount of fantasy into realism was central to the film’s aesthetic success.
Saak: Breathing Life into a Forgotten Era
Perhaps Darshan’s finest achievement in period realism, Saak showcases his devotion to heritage and detail. Set in the 1940s, it follows a tender romance against a backdrop of political unrest and cultural transformation.
Darshan’s art direction included the use of traditional khatris, wooden trunks, brass utensils, handwoven curtains, and narrow alleys lined with hand-painted shop signs. He revived forgotten textures and tones, even guiding costume designers to ensure visual consistency across departments.
The challenge was massive — how to tell a personal love story while accurately reflecting a historical time? Darshan’s answer was clear: design with feeling, and research with honesty. The film’s warm, earthy tones and vintage environments turned it into a visual time capsule.
The Man Behind the Canvas
Darshan is known among peers for being meticulous and deeply involved in pre-production. He doesn’t limit himself to paper sketches. He visits locations, experiments with prototypes, and often personally sources props from villages or flea markets.
Colleagues describe him as “a quiet storm” — someone who doesn’t talk much on set but lets his work speak volumes. He values collaboration, often consulting closely with cinematographers and directors to ensure that light and design complement one another.
What also sets Darshan apart is his insistence on sustainability. He frequently reuses materials across projects, custom-builds props from recycled wood, and ensures minimum wastage. For him, art direction is not about splurging on aesthetics — it’s about meaningful storytelling within ethical practices.
The Legacy He’s Building
Darshan may not be a household name yet, but within the film industry, he commands deep respect. Directors trust him to visually translate their scripts. Producers value his ability to work within budget without compromising on vision. And audiences — knowingly or not — fall in love with the worlds he builds.
He has recently begun mentoring young production designers, emphasizing the importance of emotion-driven set design. “Anyone can build a room,” he says. “But not everyone can give it soul.”
Upcoming projects include a Partition-era drama, a crime web series set in rural Bihar, and a biographical film on a Sufi poet. With each new challenge, Darshan is ready to push the boundaries of his art once again.
Conclusion: From Concept to Canvas – Darshan’s Cinematic Gift
Art directors often fade into the background once the lights dim and the credits roll. But Darshan is among those rare artists whose work lingers long after the final scene. Through mud houses, floral gardens, dark alleyways, and sacred halls, he has etched emotion into space.
In every project, Darshan reminds us that cinema isn’t just about what is said — it’s also about what is seen. And in that silent visual language, he is nothing short of a master storyteller.