‘Premante’ movie review: Priyadarshi shoulders this bizarre yet partly entertaining drama

This is a film in which a man slender enough to slip sideways through the bars of a police-station lockup chooses not to walk out when the cops are not watching. Instead, he quietly takes a constable’s phone while the officer dozes off, slips back into the lockup, and starts watching reels. With moments like this, director Navaneeth lays out the film’s grammar early on — through the quirks of the principal characters played by Priyadarshi and Anandhi, and even through this random man in the station — signalling that Premante (love means…) is not a conventional relationship drama. Anything can happen, and the film wants viewers to simply go along for the ride.

Madhusudhan (Priyadarshi) and Ramya (Anandhi) meet at a wedding — one where the bride had earlier rejected him and the groom had rejected her in their respective matchmaking rounds. The couple getting married is nicknamed #SaiKo, a cheeky nod to wedding-trend culture on social media. Madhusudhan and Ramya’s meet-cute unfolds over their shared love for mutton biryani, her stubborn streak, her OCD tendencies, and her craving for adventure — even if it means doing the unthinkable.

Love blossoms and both families are relieved that their matrimonial searches can finally end. All seems well until friction arises — his night shifts keep him away, and she feels neglected. From here, the story throws up one twist after another. It is disconcerting, because the central conflict is rooted in very real middle-class pressures — an ailing parent, medical debt, and a family home under threat.

Premante… briefly examines the moral compass of its protagonists before shifting gears into a logic-defying ride. Underneath the chaos is Ramya’s desire to reclaim the right to make her own decisions, after years of being controlled by her father. Her stubborn insistence on doing things her way takes the narrative into unexpectedly bizarre — often funny, often exasperating — territory.

Running parallel is the track of Asha Mary (Suma Kanakala), a head constable who doubles as an informal marriage counsellor at the station run by Sampath (Vennela Kishore). Their constant tussle lands her in trouble, and she is tasked with proving her worth by solving at least one case. It is a familiar underdog arc, but her views on relationships and marriage add freshness.

The brisk pace and frequent twists keep the film watchable, even if some of the humour and recurring gags misfire. Premante sits in an uneasy space between a “switch off your brain” comedy and a relationship drama that wants its leads to examine their choices. The blend is not seamless — some stretches work, others test patience.

Priyadarshi’s sincerity as a guilt-ridden man helps anchor the film. He plays the role with an awareness that his actions cannot be justified, and that he must face the consequences. His quieter moments, especially towards the end, speak volumes. Anandhi’s character is written as a mix of naivety, silliness and unwavering affection; she commits to it fully, though her dialogue delivery turns shrill in parts.

The background score is overbearing at times, but Leon James’ songs — particularly the well-staged ‘Dochave’ — lend the film some rhythm. Cinematographer Vishwanath Reddy keeps things functional, with limited scope for visual flourish unlike his earlier work in Gaami and 8 Vasanthalu.

Some of the meta humour between Vennela Kishore and Suma, including nods to television anchoring, lands well. Their ego clashes, though, could have used sharper writing. Kishore’s deadpan restraint contrasts Suma’s buoyant energy. His coffee mug — “Eyy bidda, idhi naa adda”, a line borrowed from Pushpa — neatly sums up his need for dominance.

Supporting actors like Abhay Betiganti, Kireeti and Hyper Aadhi deliver what their roles demand.

Premante reaches for a balance between madcap comedy and a deeper look at relationships and the effort required to sustain them. It has its moments, but its introspective undercurrent never fully lands, leaving it as a film that is enjoyable in parts but unlikely to linger.