Charan Peri

Charan Peri’s filmography is a bit of a wild ride lately, honestly. His recent projects, Subham (2025) and Bench Life (2024), couldn’t be more different in tone, but that’s kinda what makes him stand out in the indie film scene. Subham, for instance, is this slow-burn drama that digs into the tangled mess of family ties—like, the kind where everyone has secrets and no one really says what they mean until it’s almost too late. There’s this subtle, almost claustrophobic tension in every scene, and Peri doesn’t spoon-feed you emotions. Instead, he lets the silences and awkward glances do the heavy lifting. You can tell he’s not afraid to sit in the uncomfortable moments, which, honestly, is rare these days. Then there’s Bench Life, which flips the script completely. It’s way lighter but still packs an emotional punch. The story is basically a slice-of-life look at a group of friends who claim this old park bench as their hangout spot. They talk about everything—love lives, dead-end jobs, dreams that seem totally out of reach. It’s funny, sometimes borderline ridiculous, but then out of nowhere, it’ll hit you with a line that stings because it’s just way too real. Peri’s direction here is all about the little details—the chipped paint on the bench, the weird inside jokes, the way characters fidget with their phones when they don’t know what to say. Both films show he’s got a knack for capturing those raw, messy moments that make people feel human.