Sravan Raghavendra

Sravan Raghavendra, man, where do I even start? This guy’s been popping up everywhere lately, and if you haven’t heard his name, you’ve definitely seen his work floating around. He’s behind Paderu 12 Mile (2025), which already has people buzzing—some fans are practically counting down the days. There’s this raw edge he brings to everything, you can tell he’s not just dialing it in for a paycheck. Then there’s Devaki Nandana Vasudeva (2024). That one? It’s got a vibe all its own. Sravan’s involved in a way that just gives the film a pulse, if you know what I mean. People are saying it’s the kind of movie that sticks with you, like you walk out and you’re still chewing on what you just watched. He’s not afraid to dig into some heavier themes, stuff that makes you squirm a little, but you can’t look away. And don’t forget Vithai Virumbu. Not as high-profile as the others, maybe, but it’s got his fingerprints all over it—unpredictable, a little off the beaten path, and super watchable. Sravan’s whole deal seems to be about taking risks and keeping things interesting. He’s not the kind of guy who churns out safe, forgettable flicks. Every project feels like it matters to him, like he’s genuinely obsessed with telling stories that hit you right in the gut. If he’s involved, you know you’re in for something that’s at least going to make you feel something, even if it’s not always what you expect.