Subham, a Hindi horror drama, was released on OTT today, June 13, 2025. Directed by Praveen Kandregula and written by Vasanth Maringanti, the film has a runtime of 2 hours and 5 minutes. Samantha produced the movie, which was presented by Tralala Moving Pictures and Kanakavalli Talkies.
Subham 2025 Movie Overviews
| Movie Name | Subham 2025 Movie |
| Original Language | Telugu |
| Spoken Language | Hindi |
| Release Date | 13 June 2025 |
| Runtime | 2 hour and 05 minutes |
| Country | India |
| Genres | Horror Drama |
| Director | Praveen Kandregula |
| Producer | Samantha |
Subham 2025 Movie Screenshots
आप जो भी चाहते है वह आपको टेलीग्राम पर मिलेगा जॉइन करें
Subham 2025 Movie Star Cast
| Actor | Role |
|---|---|
| Harshith Reddy | Cable Srinivas |
| Gavireddy Srinivas | Venkatesh |
| Charan Peri | Shahjahan |
| Shriya Kontham | Srivalli |
| Shalini Kondepudi | Farida |
| Samantha | Maya Matasri |
Subham 2025 Movie Trailer
Subham 2025 Movie Review
In the coastal town of Bheemili, three friends—Srinivas (Harshith Reddy), Gavireddy (Srinivas Gavireddy), and Charan (Charan Peri)—aspire to be “alpha male” husbands who dominate their wives, Srivalli (Shriya Kontham), Shalini (Shalini Kondepudi), and Shravani (Shravani Lakshmi). When the women become obsessed with a TV soap opera, Janma Janmala Bandham, airing at 9 PM, they start behaving strangely, possessed by a spirit tied to the show.
As the phenomenon spreads across the village, the men uncover a supernatural connection to the serial and devise a creative solution to resolve the chaos. The film uses this setup to deliver a light-hearted satire on gender dynamics, emphasizing mutual respect in relationships.
Praveen Kandregula, with writer Vasanth Maringanti, crafts a fresh concept rooted in the universal Indian household trope of soap opera addiction. The first half is engaging, packed with situational humor and a clever interval twist, as noted by critics and X users. The film’s indie storytelling style and nostalgic setting recall Kandregula’s Cinema Bandi, earning praise for its quirky charm.
However, the second half falters with repetitive scenes and sluggish pacing, failing to fully capitalize on its promising setup. The gender commentary—critiquing toxic masculinity and advocating for gender equity—is subtle and effective, but the lack of explanation for the possessions and a predictable climax dilute the impact. Dialogues are witty and grounded, though some jokes feel forced.
