Producer-director Sejal Shah reveals captivating details about her new film Costao’s leading man Nawazuddin Siddiqui. She calls him a tour-de-force of talent, she’s enjoyed watching the master ply his trade during the making of their latest film together. Sejal also reveals why everyone should explore the quirky character of Costao Fernandes and his unique life story, brought to the screen through Nawazuddin’s seminal acting skills. Read on…
What inspired you to tell the story of Costao, and how did the idea first spark?
The story of Costao hit me like a lightning bolt during a casual chat with my friend Prannati Mehra, a former journalist, and PK Dash, a revered senior officer and Costao’s former boss. We were working on another project when Dash mentioned about Costao’s life. I was hooked, utterly captivated by this enigmatic man and his journey. But getting to him wasn’t easy. For years, Costao had avoided any movie on his life. It took months of relentless pursuit and building trust through Dash to finally meet him. I spent a year and a half diving deep into his world, his grit, his choices, his solitude in Mumbai. He tested me, probing my integrity, my courage, my commitment to truth. In the end, it was his raw, unfiltered life. Costao isn’t just a story, it’s a man who demands you see him as he is.
Is it difficult to make a culturally unique film like Costao? What’s the biggest challenge when you tell a unique tale like this?
The tightrope walk of truth versus cinematic flair. Biopics can easily tip into hero worship or caricature, but Costao demanded honesty above all. The challenge was crafting a narrative that honoured his life without bowing to conventional ‘hero’ tropes or predictable storytelling structures. We were telling a raw, unpolished story, sometimes messy, always human. Balancing that authenticity with the pulse of entertainment felt like skating on thin ice.
See Also: Nawazuddin Siddiqui’s Wife Aaliya Siddiqui Clears the Air Around Demanding Alimony
Did Nawazuddin Siddiqui interpret the character of Costao differently than you expected him to?
Nawaz and I, along with my partner-producer-writer Bhavesh, were aligned from day one: no sanitized hero, no cartoonish villain. But Nawaz? He didn’t just meet the bar—he vaulted over it. He dug into Costao’s soul, turning quiet, ordinary moments into gut-punches. Take the scene where he has this raw, ugly fight with his wife, Nawaz’s eyes and body language carried a storm of regret and rage. Or the final scene at the grave, where his regret and guilt is so brilliant. He brought a depth that made every frame pulse with truth.
Did Nawazuddin throw up any surprises during the shoot?
Oh, constantly! Nawaz has this knack for alchemy—mid-scene, he’d riff on a moment, repeat a line with a new cadence, or throw in a pause that shifted the entire mood. It wasn’t showy; it was instinctive. He’d catch me off guard, and I’d be grinning behind the monitor, thinking, “How did he just do that?” His spontaneity kept us all on our toes and made the film breathe.
He’s known for intense, layered performances. How did you help him channel that energy into Costao?
Nawaz is a maestro of emotional rhythm. He doesn’t just play intense, he knows exactly when to dial it up or pull it back, crafting each beat with surgical precision. My job wasn’t to rein him in but to give him space to dance. We’d talk about Costao’s contradictions, his strength, his flaws, quiet moments and Nawaz would weave those into every scene. He’d start soft, build to a crescendo, then drop into a devastating silence. It’s like he was scoring a symphony with his performance, and I just had to trust his genius.
What do you admire most about him?
Nawaz is a unicorn, phenomenally talented yet ego-free. He’s a professional who lifts everyone around him. No matter how small another actor’s role, he’s there, giving cues, making them feel safe. He doesn’t steal scenes; he elevates them. His focus is always the film, never his own spotlight. And his curiosity! He asks questions, not to flex, but to dig deeper, to give more. Working with him sets a tone of collaboration and generosity that ripples through the entire set. He’s a master who acts like a student, and that’s pure magic.
What drew you to filmmaking, and how has your approach evolved?
I started as a journalist, chasing stories for over a decade. Then I pivoted to documentaries in LA while studying film, and then fiction films. For me, it’s always been about the story—whether it’s a pen, a camera, or a script, the medium changes, but the love to capture human moments doesn’t. Before directing, I co-founded a production company with Bhavesh, writer-partner, to ensure we could tell the stories we believed in, with control and integrity. My approach has evolved from chasing facts to crafting emotions, but the core remains: I’m a curious person with love for collaboration, moments, and the messy beauty of human experience.
Which filmmakers have shaped your work, and how?
I’m a bit of a cinematic magpie, stealing inspiration from everywhere. Satyajit Ray’s storytelling feels like a masterclass in soulful precision. Tarantino’s audacious style. Hrishikesh Mukherjee’s simple yet profound strokes. Guy Ritchie’s maverick energy, Wes Anderson’s quirk, and Scorsese, his raw, unflinching humanity. I think so many filmmakers have inspired me and I try and learn from them.
What challenges did you face while making this film?
Breaking in with your first film is a gauntlet, especially when you’re a woman. You’re battling budgets, scepticism, and stereotypes. Getting Costao made meant convincing actors, financiers, and sometimes even myself that this unconventional story was worth the risk.
What are the kind of stories that you would want to tell next, with your future films?
I want to tell stories that light me up, ones that pulse with relatability, inspiration or just pure, unfiltered entertainment. Whether it’s a single emotion like love, forgiveness or power, I want my films to say something, even if it’s just a whisper. I’m drawn to stories that challenge, provoke, or make you feel seen. If it excites me, moves me, or keeps me up at night, it’s a story worth telling.
Also Read: Costao Movie Review: A Real Story Trapped In A Flat, One-Dimensional Narrative