Vaishnavi Pramodh

Vaishnavi Pramodh is an Indian-born, UAE-raised filmmaker and production designer who is shaping a new voice in independent cinema from the Gulf region. Based in Dubai, she is part of a rising generation of women filmmakers who are challenging traditional narratives and creating space for culturally grounded, emotionally complex storytelling.  Her directorial portfolio includes two notable short films. A Wigmaker’s Tale (2023) is a poetic coming-of-age story exploring grief, familial bonds, and the search for self through the lens of craft. Her latest work, Milk Tooth (2024), follows an 11-year-old boy named Rahim whose playful prank on a friend leads to guilt and a profound inner shift. Both films reflect Vaishnavi’s distinct style, blending visual art and lyrical structure to examine personal transformation and emotional depth.  Influenced by her background in poetry and visual arts, her filmmaking explores themes of identity, memory, and cultural duality. She often works with surrealist or non-linear narratives, constructing cinematic worlds that are both intimate and visually expressive.  As an emerging voice in regional cinema, Vaishnavi is not only directing films but also contributing to a broader movement in women-led storytelling from the Middle East and South Asia. Her work speaks to a generation negotiating belonging, tradition, and inner complexity, offering a perspective that is both deeply personal and globally resonant.

Additional information:

The Search Form


Co-Writer:
????  Sage

Director:
????  Milk Tooth
????  Sage
????  The Guest Room

Editor:
????  Milk Tooth
????  Sage
????  The Guest Room

Production Design:
????  Milk Tooth
????  Sage
????  The Guest Room

About the Movie Section

Most data and links to images for the Movies section come from TheMovieDB (TMDB).

Additional data for Film Titles come from The Open Movie Database (OMDb).

At least one plug-in comes from IMDb.

Data are -- hey, it's a plural -- subject to the limitations of their sources. (For example, TMDB search results currently max out at 20.) I am limiting myself to free data sources for now. (No, a "free trial" is not free.)

While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:

  • I added "runners up" to Top 10 lists, treating them as ties where applicable and numbering them accordingly at the bottom of each list.
  • Regarding those polls wherein "franchise" movies were submitted as one project until BFI's policy changed to regard them separately, I treated them as ties and renumbered the affected lists accordingly (e.g. the Godfather films).

Regarding profile removals and data corrections:

  • If you would like your profile removed from this site, please contact the source of this data directly, TheMovieDB. My assumption is: once it's gone from their site, it should soon be gone from this site.
  • If you would like to correct movie data on this site, please contact the source of this data directly, TheMovieDB. My assumption is: once it's corrected on their site, it should soon be corrected on this site.
  • For additional corrections and profile removals, please e-mail The Open Movie Database (OMDb).

Filtering is applied here to film projects flagged as "adult" by TheMovieDB. Pending "popular demand" I am contemplating a login and profile system with preferences (such as whether to allow adult images to appear) and permissions (such as data entry).

Whereas the overall purpose of this website is to serve as a personal demo/portfolio/workshop of web and data skills, this Movies section is not meant to compete with or substitute for far more definitive movie websites.

Whether or not he still clings to an award which he won in 1986 as a film critic for his college's newspaper, Jeffrey Hartmann is not responsible for the texts of overviews and biographies supplied by external data sources.