Shravan Fondekar

Shravan Fondekar, honestly, isn’t your typical run-of-the-mill filmmaker. The guy’s got a knack for stories that kinda sneak up on you and then, bam, you’re invested. So, Sadabahar (2022) – let’s start there. Set against a backdrop that’s dripping with nostalgia, it’s got this bittersweet energy. You get wrapped up in the characters’ lives – they’re flawed, stubborn, sometimes hilarious, sometimes just... painfully real. The plot swirls around family bonds, small-town drama, and the sort of secrets that fester until someone finally cracks. Fondekar doesn’t spoon-feed you either; he lets the silences hang. There’s this tension, like everyone’s carrying their own baggage but pretending everything’s fine. Relatable, right? Now, Costao (2025) is a whole different beast. Fondekar flips the script, diving into something that feels fresh but still grounded. The story takes you on this wild ride with characters who can’t quite escape their pasts, even as they chase something better. It’s gritty, raw, and doesn’t shy away from the darker corners of ambition and regret. There’s a pulse to the way it’s told – sometimes it races, sometimes it slows, like the story itself is catching its breath. Both films? They’re not just movies; they’re experiences. Fondekar’s got a way of making you care, even when you didn’t plan to. And honestly, that’s pretty rare these days.