Sooraj E. S. – Shaping Stories Through Rhythm and Restraint
In cinema, editing is often called the invisible art. The craft that holds a film together without calling attention to itself. For Sooraj E. S., editing is not merely a technical process but a way of thinking, feeling, and responding to stories across formats and genres. With a career that bridges programming, commercials, and feature films, Sooraj’s journey reflects adaptability, curiosity, and a deep respect for storytelling.
Born in Thrissur, Kerala, Sooraj E. S. began his professional life far from the editing console. He studied computer engineering and worked as a programmer for nearly two years. Yet, the pull of media and storytelling proved stronger than the predictability of a technical career. This shift led him to Chetana Media Institute, where he formally studied media, marking the beginning of his transition into the creative world.
In 2003, Sooraj started working in Cochin, gradually finding his way into film editing. Initially, he worked extensively on commercials and advertisements, treating editing as a tool one that required precision, timing and clarity of thought. These early years in advertising became foundational, sharpening his sense of rhythm and visual economy. Even today, despite his growing presence in cinema, Sooraj continues to work in commercials, drawn to their essence and discipline.
Before making his mark independently, Sooraj worked as an associate editor, gaining hands-on experience under seasoned professionals. A significant early influence in his career was editor V. Sajan, with whom he began his journey in the editing department. This period helped him understand not just the mechanics of editing, but also the collaborative nature of filmmaking.
Iniatially Sooraj worked as assistant film editor with V.Sajan (Chacko Randaman), Beena Paul (Kayyopp), K.R Gouri Sankar (Ladies & Gentlemen) and Independent editor for an experimental project 24 Hrs (2010). Sooraj’s first major break came with Vellimoonga (2014) that became his first theatrical release and a defining moment in his career.
The opportunity for Vellimoonga came during 2014, at a time when Sooraj was still deeply involved in commercial projects. Director Jibu Jacob reached out to him, narrated the story, and the collaboration took shape organically. The film’s success brought Sooraj into wider recognition, establishing him as a dependable editor capable of balancing narrative flow with mainstream appeal.
From there, his career continued to evolve with films like Munthirivallikal Thalirkkumbol (2017), where his editing contributed to the emotional rhythm of a family-oriented narrative. Over time, Sooraj became known for his ability to adapt his editing style to the needs of the story rather than imposing a fixed signature.
A key creative collaboration in his career has been with director Dinjith Ayyathan, beginning from Dinjith’s very first film Kakshi Amminipilla. Their working relationship is built on trust and dialogue, especially evident in projects like Eko. When working on Eko, Sooraj notes that the director did not over-explain the film’s concepts; instead, he encouraged discussion and sought the editor’s opinion. This openness allowed Sooraj to shape the film’s rhythm intuitively, responding to the material rather than following rigid instructions.
His involvement in Thalavan (2024) came through a long-standing professional association with director Jis Joy, with whom he had previously collaborated on advertisements. That prior understanding translated smoothly into the film space, reinforcing how Sooraj’s commercial background continues to influence his film work.
What stands out in Sooraj E. S.’s career is his refusal to be confined to a single genre. From thrillers to family dramas, from festival documentaries to mainstream cinema, he enjoys exploring different storytelling forms. When asked about preferences, he consistently emphasizes his love for variety and his reluctance to stick to one stereotype.
Despite years in the industry, Sooraj remains grounded. He occasionally watches films, rather than obsessively consuming them, and cites legendary editor Sreekar Prasad as his primary inspiration. While he has edited numerous narratives, he currently has no concrete plans to direct though he remains open to the idea if the right story comes along.
Looking ahead, his upcoming project Prakambanam adds yet another genre to his evolving filmography. Through decades of work across media, Sooraj E. S. continues to approach editing not as a spotlighted role, but as a silent force shaping stories, enhancing emotions, and allowing cinema to speak for itself.
Filmography:
24 Hrs (2010)
Vellimoonga (2014)
Munthirivallikal Thalirkkumbol (2017)
O.P.160/18 Kakshi: Amminippilla(2019)
Thalavan (2024)
Kishkindha Kaandam (2024)
Eko (2025)
