In the era of colorful visuals, Kota Factory stands out due to its unique black-and-white theme. Despite the lack of color, the series has emerged as a gem on the internet, charming audiences with its distinctive visual style and gripping storyline. Created by Saurabh Khanna and Arunabh Kumar, the series is currently available for streaming on Netflix. It stars Jitendra Kumar, Urvi Singh, Revathi Pillai, Ahsaas Channa, Mayur More, Ranjan Raj, and others in pivotal roles.
The makers’ decision to use a black-and-white theme in Kota Factory has intrigued many fans. This article highlights the reason behind this artistic choice.
Why is Jeetendra Kumar’s Kota Factory in black and white?
In a recent discussion, lead actor Jitendra Kumar shared insights about the black-and-white color scheme of the web series Kota Factory. He revealed that director Raghav Subbu was keen on filming the series in black and white and convinced the team to embrace his vision. Subbu aimed to ensure that the focus remained on the storyline rather than the color scheme.
Interestingly, the creators originally shot Kota Factory in color but later converted it to monochrome during post-production. According to IMDb, the black-and-white aesthetic was chosen to reflect Kota’s colorless, boring, and often depressing aspects of student life. As the show highlights the lives of students who leave their homes to study in Kota with almost no entertainment, this theme fits the bill.
Additionally, the visual style is inspired by the movie Schindler’s List, based on the lives of Jews under the gruesome regime of the Nazis. Despite the predominantly black-and-white episodes, Kota Factory’s certain sequences are presented in color to differentiate between present and past timelines. This artistic choice added depth to the storytelling and garnered significant attention from viewers.
The creators recently released the third season of Kota Factory, which continues with the black-and-white theme and is currently streaming on Netflix. Stay tuned for more updates.
