Cast: Priyadarshi, Anandhi, Suma, Vennella Kishore, Hyper Aadhi, and others

Director: Navaneeth Sriram

Rating: 1.5/5 stars

Actor Priyadarshi, who impressed audiences with his intense performance in Court, continues to struggle when he attempts comedy-centric roles. After lacklustre outings like Sarangapani Jathakam and Mithra Mandali, he once again picks a so-called fun movie that lacks soul, logic, and emotional depth.

The premise itself is contrived — a petty robber taking his wife along on break-ins just because she feels “thrilled” is hardly convincing. The story follows a newly married couple enjoying an extended honeymoon phase. But once real life begins, the wife (Anandhi) starts doubting his fidelity based on gossip from meddlesome neighbours. Cornered, he finally reveals his real job: robbing houses to clear financial debts and help his friends.

Priyadarshi and Anandhi share pleasant onscreen chemistry, but even that cannot salvage a listless narrative that combines relationship drama with surreal, forced comedy — failing on both fronts. Even Suma, who usually shines on stage, cannot evoke laughs beyond a point due to weak writing. Vennela Kishore delivers a few entertaining punches, but his track too slips into predictable and forced humour.

The biggest issue lies in the heroine’s characterisation. Her sudden desire to reclaim control over her decisions, after years of being dominated by her father, takes the story into bizarre territory — sometimes funny, mostly exasperating, but always inconsistent.

The film begins with Priyadarshi and Anandhi meeting at a wedding where the bride had earlier rejected him and the groom had rejected her during matchmaking. The couple getting married is nicknamed #SaiKo, a cheeky nod to trending wedding culture. Priyadarshi and Anandhi’s meet-cute unfolds over mutton biryani, her stubborn streak, her OCD tendencies, and a craving for adventure — even when it means encouraging reckless behaviour.

While the central conflict is rooted in relatable middle-class struggles — an ailing parent, medical debt, and a family home under threat — the resolution feels superficial and hurried. The twists, instead of emotionally landing, feel disjointed and directionless.

In the end, Premante is a confused mix of relationship woes and outdated comedy, unable to do justice to either. Despite sincere performances, especially from Priyadarshi and Anandhi, the film fails to rise above its half-baked writing.