Baapu
2025 Indian Telugu-language film by Daya
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Baapu is a 2025 Indian Telugu-language comedy drama film written and directed by Daya. The film features Brahmaji, Aamani, Kethiri Sudhakar Reddy and Dhanya Balakrishna in important roles.[1]
- Raju
- Ch Bhanu Prasad Reddy
- Brahmaji
- Aamani
- Kethiri Sudhakar Reddy
- Dhanya Balakrishna
| Baapu | |
|---|---|
Theatrical release poster | |
| Directed by | Daya |
| Written by | Daya |
| Produced by |
|
| Starring |
|
| Cinematography | Vasu Pendem |
| Edited by | Aalayam Anil |
| Music by | RR Dhruvan |
Production companies |
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Release date |
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Running time | 120 minutes |
| Country | India |
| Language | Telugu |
The film was released on 21 February 2025.[2]
Plot
Mallanna (Brahmaji) is a marginal farmer with neck-deep debt after his cotton crop gets damaged, leaving him with no other go to repay his debt. His wife Saroja suggests him to kill his old father for the insurance amount deposited on his name. Will he take the unimaginable step and what happens at the end, is the story.
Cast
- Brahmaji as Mallanna
- Aamani as Saroja
- Kethiri Sudhakar Reddy as Rajayya
- Dhanya Balakrishna as Varalakshmi
- Racha Ravi as Chanti
- Srinivas Avasarala
- Mani Aegurla
Music
All music is composed by RR Dhruvan.
| No. | Title | Lyrics | Singer(s) | Length |
|---|---|---|---|---|
| 1. | "Allo Neredallo Pilla" | Raghuram | Ram Miriyala | 3:20 |
| 2. | "Re Rela" | Kasarla Shyam | Madhu Priya | 3:15 |
| 3. | "Kangaree Padaku Ra" | Ala Raju | Anurag Kulkarni | 4:08 |
| 4. | "Saami Soodaraa" | Poorna Chary | Mangli | 3:16 |
| 5. | "Baapu Oggu Katha" | Raviteja Gara | Narra Sathish Yadav | 3:39 |
Release and reception
Baapu was released on 21 February 2025.[citation needed] It was released on JioHotstar on 7 March 2025.[3]
Sangeetha Devi Dundoo of The Hindu was positive towards lead cast performances, while stating that "lacklustre writing squanders the film’s potential".[4] Aditya Devulapally of The New Indian Express wrote, "Baapu is a film that could have been extraordinary had it trusted its own cynicism. Daya constructs a world that is primed for a ruthless, pitch-black satire, but then hesitates, afraid of alienating our audiences with the film’s ambitious surgical grim".[5]