
Thammudu OTT release date: When and where to watch Nithiin's Telugu action movie online?
Despite producers receiving some financial relief from the sale of Thammudu's non-theatrical rights, they are still expected to lose about ₹ 30 crore.
Dil Raju's movie received an average review by both viewers and critics; however, Nithiin fans are still eagerly awaiting Thammudu's OTT release, so that they can watch the movie from the comfort of their homes.
According to a 123telugu report, Thammudu will likely premiere on OTT giant Netflix on 1 August 2025.
However, neither the streaming platform nor the makers have officially confirmed Thammudu's OTT release yet.
Produced by Dil Raju under Sri Venkateswara Creations, Thammudu marks veteran actress Laya's comeback to Telugu movies. In the movie, she plays Nithiin's sister.
In addition to them, the movie features Kantara actor Sapthami Gowda, Varsha Bollamma, Saurabh Sachdeva, Swasika, Hari Teja, Srikanth Iyyengar, Temper Vamshi, and Chammak Chandra.
The movie is written by Karthik Reddy Pasunur and Venu Sriram, with Venu also serving as the director. The film's music is composed by B. Ajaneesh Loknath.
Thammudu follows the story of a brother and sister bound by a deep connection. Their lives change dramatically when the sister encounters a series of hardships, prompting her brother to go to any lengths to protect her.
The movie highlights the emotional bond between siblings and shows how they overcome misunderstandings and challenges to preserve their relationship.
In yet another box office dud for Nithiin, Thammudu could only earn ₹ 6.85 crore in 12 days of its theatrical release.
According to industry tracker Sacnilk, the movie opened at a disappointing ₹ 1.9 crore, witnessing only a decline in earnings thereafter. After an opening weekend of earning in crores, Thammudu earned ₹ 60,00,000 on Day 4, which soon fell to ₹ 2,00,000 by Day 8.
The movie has minted a total of ₹ 8.19 crore worldwide.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


NDTV
an hour ago
- NDTV
Hey Bollywood, What Is It With The 'Bong Babe' Fetish?
In the new Netflix film, Aap Jaisa Koi, love is a lesson. Shrirenu Tripathi (R. Madhavan), a middle-aged professor in Jamshedpur, is arranged to be married to Madhu Bose (Fatima Sana Shaikh), a French tutor in Kolkata. The attraction is immediate. Shrirenu, the 42-year-old virgin, had abandoned the idea of being with anyone, let alone someone like the radiant Madhu; he is naturally thrown off when she likes him back. Everything goes well till a roadblock surfaces. The man turns out to be conservative and the woman is not pleased. In Hindi cinema, difference has been the cornerstone of love. Contrast - behavioural (introvert-extrovert) and social (class and caste) - attracts. It brings people together and emboldens them to fight against others. Love is the bridge where they meet, and the journey to be together supplies the story. The higher the stakes, the greater the love story. The Veers And Salims Of Bollywood Classic love stories share similar friction, if not the arc. They also have something else in common: men, mostly, did the heavy lifting. If in Mughal-e-Azam (1960), Salim mobilised an army to protect Anarkali, the woman he loved, then in the post-liberalised India of Dilwale Dulhania Le Jayenge (1995), Raj crossed oceans to woo the unrelenting parents of Simran, the woman he loved. Prem in Maine Pyar Kiya (1989) surrendered a life of plenty to prove his love for Suman, and in Veer-Zaara (2004), a cross-border love story stacked against impossible odds, Veer, an Air Force officer from India, arrived in Pakistan to meet Zara. Salim and Anarkali in Mughal-E-Azam (1960) With time, female passivity changed faces without much change in fate. Audacious women were written, but the pluck felt superficial. Geet in Jab We Met (2007) ran away from home, but she still needed Aditya to bring her back; a decade later, Bitti Mishra in Bareilly Ki Barfi smoked with her father, and yet, her fate swung between two men. These are sweeping instances, punctuated, yes, by a few exceptions, but the reading holds water. The Bengali Woman As An Antithesis In comparison, someone like Madhu is portrayed as an antithesis. Her autonomy feels as attentive as complete. She has a well-defined job, her family rallies around her, she is vocal about her sexual needs and, more crucially, none of this changes when she falls in love. She takes efforts to meet Shrirenu as much as he does - a detail that speaks volumes about the shared duties they assume. Later, when he shames her, she calls him out. Rani Chatterjee in Rocky Aur Rani Kii Prem Kahaani (2023) had the same attributes. She fell in love with Rocky, an indulgent man-child in Delhi with a closed world-view. Passion ran high, yet she refused to budge to tradition. In both cases, modernity is not a personality trait but a subtext of their persona. More similarities follow: they pair chiffon saris with sleeveless blouses. Madhu reads Sartre, and, if probed, Rani's favourite author might well be Simone de Beauvoir. Both are culturally inclined and philosophically profound. In private, they possibly worship Tagore and wept the day the Left government lost power in West Bengal. And, in case you did not notice, they are Bengali. The 'Prototype' The 'strong-willed Bengali woman' prototype has existed in Hindi films. Madhu and Rani stand on the shoulders of other self-reliant women like Piku (Shoojit Sircar's 2015 Piku) and Vidya Basu (Sujoy Ghosh's 2012 Kahaani). Sure, there are the many renditions of the uncompromising Parvati from Devdas, and Vikramaditya Motwane reimagined O. Henry's The Last Leaf as Lootera (2013) with an unyielding Bengali woman at the centre. But even other films have used this prototype. In Vijay Lalwani's Karthik Calling Karthik (2010), a twisted thriller on an introvert, the free-spirited female character is a Bengali;. Aziz Mirza's Phir Bhi Dil Hai Hindustani (2000) features a ruthless journalist who, of course, is also a Bengali. Rani's stereotypical Bengali family in Rocky Aur Rani Kii Prem Kahaani (2023) As real women started staking more claims in public spaces, women in love stories awaited a facelift. Naturally, it made sense for makers (Karan Johar and co) to harness this trope for a wider appeal, to reinvent the Hindi film heroine in romantic films as a Bengali woman in love. Culture comes with the territory, and so does defiance. But Rani and Madhu's representation has been a misrepresentation. If they are to be believed, then a Bengali woman reads Tagore for breakfast, recites Sukumar Ray for lunch, and finishes her day with a Satyajit Ray film. She lives in a giant house, her liberal outlook is without a blindspot, and even though she might have toured across the globe, College Street is her favourite street. The Allure Of The 'Bhodromahila' Granted that accusing Hindi filmmakers of exaggeration is akin to complaining about the monsoon in Mumbai. Some things go hand in hand. But the depictions have prompted a wider discourse, because by reiterating a certain kind, propped up by specific caste and class, these films seem to dictate that only the affluent, outspoken, plucky and Liberal Bengali woman (the Bhodromohila to the Bhadralok) is deserving of love. Or, that her story is worth telling. A couple of days back, an account on Instagram thoughtfully questioned the stereotype and asked: "Is every modern Bengali woman really a Rani Chatterjee or a Madhu Bose?" The answer, of course, is no. View this post on Instagram A post shared by Basundhara (@gangsofcinepur) But here's the thing: even a forthcoming Rani Chatterjee or a radical Madhu Bose, in the off chance that they exist, were not born as one. Unlike what might be suggested, liberalism is not stuffed in our potatoes, nor is it a virus Bengali women are born with (in a bizarre segue in Aap Jaisa Koi, a hitherto timid woman starts calling out patriarchy after falling in love with a Bengali man, like she has been "infected"). Even the most rebellious of Bengali women have had to earn their rebellion; even the most well-turned-out, sari-clad Bengali woman has had to fight for her sleeveless blouses. One is not born but becomes Rani Chatterjee or Madhu Bose. Still Raising Boys In a country like India, where women shrinking themselves to make space for others is the default, such characters are far-fetched on some days and aspirational on others. Perhaps that is the allure. Cinema, after all, is a site of wish fulfilment. But it is also the medium of representation, a space to see and be seen. By assuming that Bengali households are untouched by patriarchy - a belief that collapses when one considers the mounting cases of rape and abuse in West Bengal in this year alone - these films undercut and erase the struggle of Bengali women who stand up for themselves despite, and not because of, their surname. By not showcasing the labour built into it, they squander the chance of celebrating feminism. One can argue that such portrayals, however excessive, are designed to subvert the androcentric gaze of love. But women are somehow still getting shortchanged. If, in the past, they were offered ornamental parts in romantic films, then now, they are burdened with the task of teaching men. If, earlier, they waited for grown-up men to show up, then now, they are tasked with rehabilitating boys. Love is no longer the bridge where two people meet but an ideological minefield where one community is pitted against the other. And somehow, despite the cultural agency of female characters, the one gaining from it is - still - not them. (Ishita Sengupta is an independent film critic and culture writer from India. Her writing is informed by gender and pop culture and has appeared in The Indian Express, Hyperallergic, New Lines Magazine, etc.) Disclaimer: These are the personal opinions of the author


Pink Villa
an hour ago
- Pink Villa
Latest OTT Releases This Week (July 14 to July 20): 25 new web series and movies to watch on Netflix, Amazon Prime Video, more
Cinelovers assemble! From Kay Kay Menon's Special Ops 2 to Dhanush's Kuberaa and Vir Das ' new stand-up special, here's a list of all the new movies and web series that started streaming on OTT this week (July 14 - July 20). Take a look: Title Release Date OTT Platform Cast 1 Kuberaa Now streaming Prime Video Dhanush, Rashmika Mandanna, Nagarjuna, Jim Sarbh 2 DNA Now streaming JioHotstar Atharvaa, Nimisha Sajayan, Mohammed Zeeshan Ayyub, Balaji Sakthivel, Ramesh Thilak, Viji Chandrasekhar, Chetan, Riythvika, Subramaniam Siva, and Karunakaran 3 Special Ops 2 Now streaming JioHotstar Kay Kay Menon, Vinay Pathak, Karan Tacker, Tahir Raj Bhasin, and others 4 The Bhootnii Now streaming Zee5 Sanjay Dutt, Mouni Roy, Palak Tiwari, Sunny Singh, and others 5 Bhairavam Now streaming Zee5 Manchu Manoj, Nara Rohith, Bellamkonda Sai Sreenivas, Aditi Shankar, Anandhi, and Divya Pillai 6 Sattamum Needhiyum Now streaming Zee5 Advertisement Saravanan and Namritha MV 7 Star Trek: Strange New Worlds Season 3 Now streaming JioHotstar Anson Mount, Ethan Peck, Jess Bush, Christina Chong, Celia Rose Gooding, Melissa Navia, Babs Olusanmokun, Rebecca Romijn, and others 8 Wall to Wall Now streaming Netflix Kang Haneul 9 Apocalypse in the Tropics Now streaming Netflix Petra Costa, Luiz Inácio Lula da Silva, Jair Bolsonaro, and Silas Malafaia 10 Untamed Now streaming Netflix Eric Bana, Lily Santiago, Sam Neill, and Rosemarie DeWitt 11 Riff Raff Now streaming Prime Jennifer Coolidge, Gabrielle Union, Pete Davidson, Ed Harris, and Bill Murray 12 The Summer I Turned Pretty Season 3 Now Streaming Netflix Lola Tung, Christopher Briney, Jackie Chung, Colin Ferguson, Kristen Connolly 13 The Amateur Now Streaming Hulu Rami Malek, Rachel Brosnahan, Caitríona Balfe, Michael Stuhlbarg, Holt McCallany, Julianne Nicholson, and Laurence Fishburne. 14 The Assessment July 19 Hulu Elizabeth Olsen, Alicia Vikander, and Himesh Patel, along with Indira Varma, Nicholas Pinnock, Charlotte Ritchie, Leah Harvey, and Minnie Driver 15 Almost Family Now streaming Netflix Leandro Hassum, Julia Svacinna, Gabriel Goity, and others 16 Delirium Now streaming Netflix Estefanía Piñeres, Juan Pablo Raba, Juan Pablo Urrego 17 Coyotl Now streaming JioHotstar Alejandro Speitzer, Natalia Benvenuto, Dane DiLiegro, Víctor Oliveira, José Salof, Usla Haniel, José Sefami, Beng Zeng 18 Rematch Now streaming Lionsgate Play Christian Cooke 19 Take Point Now streaming Lionsgate Play Ha Jung-woo and Lee Sun-kyun 20 Amy Bradley Is Missing Now streaming Netflix NA 21 Juegos De Seducction Now streaming Prime Video Diego Boneta, Martha Higareda, Stephanie Sigman, Alejandro Speitzer, Mariana Zaragoza, Regina Nava, Ofelia Medina y Alberto Guerra, entre otros 22 Trainwreck Balloon Boy Now streaming Netflix Richard Heene, Mayumi Heene, Bradford Heene, Tina Chavez. 23 Fights Break Sphere Now streaming Prime Video Victor Ma as Xiao Yan, Jiuxiao Li as Mu Li, and Shuguang Gao as Yao Lao 24 The Idaho Student Murders Now streaming Hotstar Sophia Whitehead, Ruby Simpson, Kaylee McConkey, Howard Blum


Time of India
an hour ago
- Time of India
DNA OTT release date: When and where to watch Atharvaa Murali starrer thriller online in Telugu, Tamil, Hindi
Tamil thriller DNA, starring Atharvaa Murali and Nimisha Sajayan, is set to premiere on JioHotstar on July 19. Directed by Nelson Venkatesan, the film follows a couple whose lives are upended after childbirth, when the wife suspects the baby isn't theirs. As the husband investigates, he uncovers a deeper criminal conspiracy. The suspense drama, originally released in theatres in June, will be available in Tamil, Hindi, Telugu, Malayalam, and Kannada. Tired of too many ads? Remove Ads A Suspense-Driven Story Direction and Performances Tamil thriller DNA, featuring Atharvaa Murali and Nimisha Sajayan, is set to make its OTT debut on JioHotstar on July 19. After a theatrical release in June that drew praise for its intense storyline and gripping performances, the film will now be available to stream in multiple Indian languages, including Tamil, Hindi, Telugu, Malayalam, and Kannada. Viewers can also access the film through OTTplay revolves around Anand and Divya, a newly married couple trying to rebuild their lives after a troubled past. Anand is recovering from personal loss and alcohol addiction, while Divya lives with Borderline Personality Disorder. Despite their emotional baggage, the two find solace in each other and prepare to welcome a their world turns upside down when Divya, after giving birth, insists that the newborn handed to her is not her own. While others around her suspect her mental health may be the reason behind her doubts, Anand chooses to believe her. What starts as a personal crisis soon unravels into a larger mystery involving child-swapping and a criminal network. Anand's search for the truth forms the spine of the narrative, taking viewers through emotional upheaval and escalating by Nelson Venkatesan, known for Farhana and Monster, DNA marks his return to the thriller genre. The film stands out not only for its emotional core but also for the way it blends psychological conflict with action and mystery. Atharvaa portrays Anand with conviction, bringing depth to a man torn between trauma and trust. Nimisha Sajayan delivers a layered performance as Divya, capturing the vulnerability and strength of a woman battling mental illness while clinging to her ensemble cast features Balaji Sakthivel, Ramesh Thilak, Viji Chandrasekar, Chetan, Riythvika KP, Subramanian Siva, Karunakaran, and Pasanga Sivakumar, with each character adding weight to the by Jayanthi Ambedkar, DNA also stands out for its musical diversity. With six composers—Ghibran Vaibodha, Sreekanth Hariharan, Sathya Prakash, Anal Akash, Praveen Saivi, and Sahi Siva—the film's soundtrack brings varied tonal elements to different parts of the story. Cinematographer Parthiban D.F.T lends the film a dark and immersive visual style, while editor Sabu Joseph VJ maintains the narrative pace and tension.