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O. P. Srivastava

O.P. Srivastava is an investment banker-turned-filmmaker. He is known for pioneering the use of technology in Indian banking. His journey in films began with the production of a fiction film, Missed Call, in 2005. The film went on to win 4 national and international awards, including Best International Film Award at the Israel Film Festival 2008, and was the opening film at IFFI 2006 in Goa. It was also selected as India's official entry under 'Cinema Du Monde' at the Cannes Film Festival, 2007. His first feature documentary, Life in Metaphors: A Portrait of Girish Kasaravalli won the National Film Award for the Best Biopic for 2015.

In 2019, he published his first book, Life in Metaphors: Portraits of Girish Kasaravalli. His second book, Banking on Technology: The Changing Face of Indian Banking was published in March, 2020.

In November 2021 he adapted Ashutosh Shukla's Krishna Calling: Travelogue of a Teenager in English language.

Author's books

Pillars of Parallel Cinema: 50 Path-Breaking Hindi Films


India print edition available on: Amazon India

International print edition available on: Amazon US | Amazon UK 

eBook available globally on Amazon Kindle


Pillars of Parallel Cinema is well written and gives a very good background story of each of the films and how they were made. A very good addition to the books written of an important phase of new cinema of the time.”


Shyam Benegal, Renowned Filmmaker


This is a retrospective of 50 path-breaking Hindi films made between the late 60s and mid-90s, when parallel cinema reigned in India. There is no single reason for selecting these 50 films – the primary criterion was that they were all made without the trappings of mainstream cinema and were driven more by passion than the power of money.

Life in Metaphors: Portraits of Girish Kasaravalli


Print edition also available on: Amazon India | Flipkart | Amazon USA Amazon UK

eBook edition available globally on Amazon Kindle


Life in Metaphors: Portraits of Girish Kasaravalli is a collection of portraits sketched by colleagues, friends, family, filmmakers and film critics, providing insights into the intricate layers of Kasaravalli’s cinema and exploring the nuances of his films and their metaphors.