Story
Set in the early 2000s in Bheemili, a town where cable TV reigns supreme and dish TV is just beginning to make inroads, the story follows Srinivas, a humble cable operator who marries Srivalli, a bank employee. Influenced by his friends, who believe he should be an “alpha male,” Srinivas is coached to assert dominance over his wife. But on their wedding night, just as he attempts to act on this advice, he discovers that Srivalli becomes possessed every night at 9 PM while watching a TV serial. Soon, they realize this strange phenomenon is affecting multiple women across the village. Srinivas and his friends embark on a quest to investigate the mystery and find a solution. What unfolds is not just a supernatural tale but a journey that leads them to understand the value of empathy, equality, and respect for women.

Artists Performance

Harshith Reddy, known for his appearance in Kalki 2898 AD, delivers an impressive performance. Actress Shriya Kontham looks beautiful and acts convincingly. Srinivas Gavireddy showcases strong comic timing, while Charan Peri does a decent job. Shalini Kondepudi and Shravani Lakshmi are effective in their roles. Vamshidhar Goud is an entertainer and deserved a longer screen presence. The rest of the cast is well-chosen and fits their roles aptly. Actress Samantha made a guest appearance as Maatha, a character who offers guidance to three men who seek her help. She portrays the role with a completely different demeanor, maintaining a deadpan expression throughout. Rag Mayur, Vikas Vasistha, and Uma YG (of Cinema Bandi fame) deliver solid performances in their impactful cameo roles.

Story - screenplay - direction: This film is penned by Vasanth Mariganti and carries a quirky charm reminiscent of Woody Allen’s storytelling style. The narrative weaves together three core elements: the depiction of innocent characters from small towns, a bizarre premise where all women become possessed while watching a TV serial, and a thoughtful exploration of gender equality.

A particularly fresh idea is the way a soap opera (Janma Janmala Bandham) is made central to the plot, with an unexpected twist unfolding in the second half. Director Praveen Kandregula tells the story with a light touch, drawing viewers into the lives of the characters and the unfolding events.

The first half takes its time to introduce the characters and set up the conflict, culminating in an intriguing interval twist. The second half shifts into problem-solving mode, where an eccentric solution leads to an unconventional climax that delivers a meaningful message.

Fans of the director's debut film Cinema Bandi will notice a genre-blending evolution in this project. The issue of gender equality is handled with subtlety and humor, while the screenplay maintains a solid grip throughout.

Other departments: The cinematography by Mridul Sujit Sen is commendable, especially the aerial drone shots capturing the beach and surrounding areas, which are visually striking. The songs composed by Shor Police are decent, while Vivek Sagar’s background score stands out - it’s effective and notably different from his usual style. Ramcharan Tej Labani’s production design adds a layer of authenticity to the small coastal town setting, grounding the film in realism. Editing by Dharmendra Kakarala is sharp and well-paced. The production values from Tralala Moving Pictures (Samantha) suit the indie vibe of the film, striking the right balance to preserve its raw, amateurish charm.

Analysis: The film's promos suggest a horror vibe, but there's much more beneath the surface. The horror element is brief and primarily serves as a setup. At its core, the film is an engaging period entertainer cleverly woven around a TV serial. It functions as a satire on women’s obsession with soap operas while simultaneously offering commentary on husband-wife and mother-in-law/daughter-in-law relationships. Overall, Subham is a refreshing and wacky entertainer that holds your attention - definitely worth catching in theatres.