Having edited films in Hindi, English, Mandarin, and Spanish, Anushri Srinivasan Iyer approaches storytelling with a simple belief: emotion doesn’t belong to one language, and the best films don’t need translation to be felt.
Anushri’s journey into editing didn’t begin in a film school or on a professional set, but in a classroom in Dubai, where she first opened Adobe Premiere Pro as a high school student. What started as curiosity quickly turned into instinct. That instinct was affirmed early on when she was placed second amongst approximately 45,000 entries in the international CBSE Adobe Creativity Challenge celebrating 150-years of Mahatma Gandhi. She was invited to the Adobe Headquarters in Delhi, and was felicitated by Mr. Shantanu Narayen, The Chairman/CEO of Adobe Inc USA- A moment that marked the beginning of something much bigger.
While doing her undergraduate studies at Whistling Woods International, Film City Mumbai, her relationship with storytelling began to take shape — not just technically, but creatively and personally. During this time, she directed and edited the short film Radhika, which went on to win multiple awards, including Best Amateur Film at the Sun of the East International Film Festival, The Goa International film festival and Tagore International Film Festival. Anushri’s work gained recognition with the short film Vijaya Dashami, which was selected among the top 100 short films at the Dadasaheb Phalke International Film Festival, Mumbai. Anushri was the Head of the Whistling Woods Earth Charter, where she organized initiatives focused on environmental awareness and the United Nations Sustainable Development Goals.
It was her move to Los Angeles that marked a turning point. At the American Film Institute Conservatory, where she completed her Masters Degree in Film Editing, Anushri Iyer found herself in an environment that pushed her to refine both her
craft and her voice. Working across a wide range of genres — including comedy, thriller, animation, and horror — she began to understand just how much power an editor holds.
Her thesis film HIM, screened at the AFI FEST 2025 at the Chinese theater in Hollywood, became a particularly defining project. Anushri’s thesis film ‘HIM’ was selected across various film schools to receive an Amazon Studios AI Grant. Through the grant she explored the various uses of AI in filmmaking. The process changed the way she approached editing, allowing her to better understand the inner lives of characters and guiding her to make choices that felt more deliberate and more intuitive to the story itself. During her time at AFI, she also edited ‘Spectre’ and ‘When the cold wind blows’ which premiered at the Singapore Int Film Festival 2025 and Beyond Fest 2025 Los Angeles 2025. She also volunteered at the SMPTE MTS 2024 and ACE Eddie Awards 2025 and 2026.
Anushri Iyer has steadily built her presence within the Hollywood Film industry. She has worked as an Assistant Editor on the feature film The Best Summer, which premiered at the Sundance Film Festival which received coverage in major publications such as Variety and Rolling Stone. She also worked as an Assistant Editor on the short film The Window Cleaners, which was part of the For Your Consideration campaign for the Academy Awards.
Her work extends across both traditional and digital platforms. As a freelance Assistant Editor for Jubilee Media, she contributed to widely viewed digital content, while continuing to edit independent narrative films in Los Angeles. She also served as an Additional Editor on the feature film Where the Wind Blows, which had a theatrical release and is now available on Apple TV and Amazon Prime Video.
Anushri Srinivasan Iyer is an Avid certified professional and is currently working as a Post-Production Assistant at Sony Pictures for a show to be released in 2026 on Apple TV, while also serving as an Assistant Editor on two upcoming feature films set for release — continuing to build a career that moves fluidly between independent and studio spaces.
For Anushri, editing isn’t just about assembling footage, it’s about understanding what a moment is really trying to say, and shaping it so it lands honestly with an audience.
Anushri’s editing perspective is shaped by her experiences across film industries, cities, and cultures — but grounded in something simple: paying attention to performances, to rhythm and to the small, often invisible choices that ultimately define how a story is experienced.
As her learning continues to grow, Anushri remains drawn to stories that feel personal yet resonate widely — stories rooted in emotional truth and human connection.
Because at its core, she believes cinema works the same way everywhere—it connects through feeling, not language
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