Shahan Rao on Crafting the Visual Language of 40 Days

Shahan’s Journey as a Cinematographer.

Born with a natural passion for visual arts, Shahan Rao began his journey as a photographer. Growing up in Pakistan, where documentary filmmaking was thriving, he developed a distinct visual style behind the camera. His love for cinema led him to Los Angeles, where he collaborated with over 20 directors from around the world. In 2024, he was shortlisted as the Emerging Cinematographer by the Academy of Motion Pictures, a testament to his unique ability to visualize and support a director’s vision.

His recent work on the film 40 Days, directed by Peter Takla, is currently in post-production. Meanwhile, his other projects — Nebuchadnezzar, Straw, and Generation Wells — are making successful runs on the festival circuit worldwide. Looking ahead, Shahan is set to collaborate with Tony Schwartz in 2025 on an upcoming project titled Ghost Machine.

Crafting the Visual Language of 40 Days

40 Days is a compelling character study that follows the journey of an illegal migrant traveling from Egypt to the United States. The film explores the harrowing obstacles along the route, the brutal encounters with coyotes, and the unrelenting challenges of being undocumented in the U.S. While a hard watch, the film remains authentic in its storytelling, making the difficult subject matter accessible and deeply resonant.

This was my first time working with writer-director Peter Takla. During our early prep sessions, we quickly discovered a shared sensibility in prioritizing a performance-based approach. Since we were shooting entirely on location, we faced practical challenges that required adaptability. My research for this project involved studying photo books, documentaries, and first-hand accounts from individuals who had experienced similar journeys. I aimed to create a visual style that felt organic rather than staged or synthetic.

A major inspiration was Alex Webb’s The Suffering of Light, which juxtaposes vibrancy with the dark realities of illegal immigration and drug wars. Films like Sicario and To Leslie also played a significant role in shaping the film’s aesthetic.

Given that 40 Days is a deeply character-driven piece, we sought to capture the journey of Mariam (played by Mira Victor) and Naguib (played by Hossam Dagher) in an intimate, immersive manner. The camera itself became an active participant in their story. Their journey is further enriched by characters played by Evram Award and several others.

I prefer lighting with practical sources, ensuring that the motivation is visible within the frame. Since all our sets were real locations, my gaffer, Damon Mavroudis, and I worked to modify and replace existing fixtures with practical lighting solutions that suited our needs. One of the most immersive experiences was shooting in the jail cell location — it genuinely felt as though we were among undocumented immigrants striving for the American dream.

As this was our first collaboration, my working relationship with Peter grew stronger over time. He prefers minimal rehearsals, embracing the unpredictable nature of each take. This required our camera team to remain fluid and ready to move dynamically, which made 360-degree practical lighting an ideal approach.

I was fortunate to have a dedicated crew, including Aditya Gupta, Yuanhao Zhang, and Omer Shaier in the camera department. My grip and rigging team, led by Irtaza Qadeer and Moritz Hass, was exceptional, with Chandler Jenkins stepping in for second-unit work.

This film holds a special place in my heart. The commitment from the entire crew was unparalleled, making it one of the most deeply invested projects I’ve been a part of. I hope 40 Days resonates with audiences and brings attention to the powerful and often overlooked stories of immigrants seeking a better future.