Premante (2025) Movie ft. Anandhi, Priyadarshi, and Suma
Premante lands as a fresh take on the whole marriage-and-trust thing. The film puts Priyadarshi and Anandhi in the center as Madhu and Ramya, a couple who seem to have it all figured out. Navaneeth Sriram makes his directorial debut here, and he’s picked an interesting path, mixing marriage drama with a bit of crime mystery.
The story kicks off when these two people meet accidentally and decide marriage is a good idea. Three months in, things are beautiful. Then Ramya finds out something about Madhu that shouldn’t be hidden, and suddenly their whole marriage looks different. Running alongside this is a cop subplot where Suma tries to crack a theft case while dealing with her own mess.
Chemistry That Almost Saves Everything
Here’s where I’ll be honest—Priyadarshi and Anandhi actually work together. Their early scenes together feel natural. You believe they’re two people in love rather than actors performing romance. When they bicker or laugh in those first few reels, there’s real warmth happening. The problem isn’t their connection; it’s that the script doesn’t give them enough strong material to work with consistently throughout.
Priyadarshi remains comfortable in grounded, realistic characters. He’s reliable, but only when the dialogue gives him something intelligent to say. His performance here sits somewhere between “good” and “going through motions”—he carries the film but can’t lift it higher than the writing allows. Anandhi, meanwhile, goes on a strange journey.
Where the Humor Actually Lands
Suma Kanakala might be the smartest casting choice here. She gets actual comedy material and delivers it with timing that works. Her scenes with Vennela Kishore produce the kind of humor that makes you chuckle, clever exchanges rather than forced gags. These two have that comfort level where they can riff off each other without it feeling rehearsed. But everyone else?
The comedy never tries too hard, which is something. It stays observational and tied to actual situations rather than becoming cartoonish. The problem is that these moments are scattered throughout, and by the second half, even Suma’s scenes start repeating themselves without fresh twists.
When Things Actually Click
The film genuinely works in its opening hour. The scenes showing Madhu and Ramya’s early married life have an authenticity that’s refreshing. You see them in realistic situations, talking, laughing, figuring things out—and it feels lived-in rather than performed for a camera. Cinematographer Vishwanath Reddy keeps things visually clean and straightforward, which actually helps rather than hurts.
The first-half pacing deserves credit. There’s momentum. The film doesn’t dawdle; it moves through scenes efficiently. The twist before intermission gets handled with enough care that you’re genuinely curious about what happens next. The marriage song is pleasant without being memorable, it fits the moment and then disappears, which is fine for what it is.
Where Things Stumble and Lose Direction
The second half is where Premante runs out of steam. The energy that existed in the opening reels just vanishes. Scenes drag without purpose. The relationship between Madhu and Ramya, which should matter most emotionally, stops resonating. When the film tries to make you feel something serious, it lands as artificial instead of moving.
The cop-and-theft subplot feels disconnected from the main story. It takes up time without adding value. When Suma’s character finally becomes important, her scenes have already become repetitive through weak writing. The climax arranges itself too neatly. There’s no real consequence or emotional impact—it just resolves because the story needs to end.
Anandhi’s character becomes increasingly problematic. She’s introduced as someone with genuine values and moral sense. Then the film asks her to do things that contradict everything we were told about her personality. This isn’t layering or complexity; it’s inconsistent writing that confuses viewers about who this person actually is.
Technical Sides
Leon James’ music doesn’t stick. The songs pass by without leaving impression. The background score sometimes overpowers scenes instead of supporting them. Raghavendra Thirun’s editing in the first half stays sharp, but this precision vanishes later. The shift from tight editing to loose, meandering scenes makes the drop in quality obvious.
What Other People Said
Critics weren’t kind to this one. TrackTollywood called it a 2.5/5, noting the first half works but the second half tests patience. Great Andhra went lower at 2/5, criticizing the lack of character depth and unclear moral positioning. IMDb’s 8.3 rating likely reflects viewers who caught it for entertainment and found enough to stay awake rather than a realistic measure of quality. The pattern is consistent—early promise that deflates gradually.
The Bottom Line
I watched Premante hoping Priyadarshi’s comeback would click, and there are moments where it almost does. The film’s best self is a simple story about two people figuring out marriage with humor and heart. When it stays there, things work. The moment it tries being clever by adding crime angles and moral ambiguity, something breaks in the narrative logic.
This isn’t a bad film exactly. It’s a film with good components that don’t assemble into something greater. The lead pair has chemistry. Suma brings actual entertainment. The first hour moves well. But these pieces don’t build toward anything satisfying. By the finale, you’re not invested in what happens because the script has already lost you with its confusing character choices and second-half exhaustion.
Watch it if you want light weekend entertainment. Skip it if you value tight writing and consistent character arcs. There’s nothing here that will haunt you—for better or worse, Premante just passes by.
Rating: 2.5/5
