A young woman named Joy arrives at an upscale suburban mansion to take up work as a live-in maid. The household belongs to Uma and Nirach, a wealthy married couple, and their only child, a girl called Nid. The head housemaid, Mrs. Wan, briefs Joy on the strict boundaries of service and warns her explicitly not to pry into the private affairs of the family. Joy moves into the servants' quarters with her few belongings and begins carrying out cleaning, cooking, and other domestic tasks under Wan's supervisory eye.

From the outset Joy notices strange happenings inside the house. Objects shift position without explanation. She feels sudden chills while tidying rooms that look untouched. Doors that she remembers closing stand slightly ajar. At night she hears soft noises coming from parts of the residence that should be empty. Wan will later tell her that the household has always been "a little different," but she repeats the instruction to keep to the duties assigned and not to intrude on the master and mistress's rooms.

One evening Joy cannot sleep. Curiosity overrides the caution Wan demanded. She slips from her quarters and walks the long corridor toward Uma's study. In the semi-dark, Joy finds a locked drawer; she forces it open and pulls out a worn photograph. The picture shows Uma, Nirach and a young housemaid named Ploy standing close together. The maid in the photo is the missing sister Joy has been searching for; she recognizes Ploy instantly. The discovery shocks Joy. She pockets the photograph and leaves the study before anyone notices her absence.

After that night, manifestations escalate and concentrate around Joy. She begins to see a pale female figure in the corners of the house; the apparition wears the faded uniform of a maid. Not everyone can perceive this presence. Nid, the couple's daughter, also begins to react to the same disturbances, turning toward empty air and speaking to a person no one else seems to see. Other staff members and the employers display irritation or fear toward unusual noises and cold drafts, but only Joy and Nid interact visibly with the spirit. The ghost will occasionally press a hand to Joy's cheek or point toward rooms where something is hidden. On several occasions Joy finds herself guided by unseen fingers to drawers, boxes, and cupboards that hold letters and mementos connected to the missing maid from the photograph.

At first Joy keeps the photograph and the ghost's gestures to herself. The spectral figure appears more insistent as Joy spends time alone with Nid; the child begins to call the apparition "Ploy." Joy, doubting her own memory at times, brings up the name with Wan covertly. Wan freezes at the mention and gives a tightly controlled account: Ploy used to work in the house years before and then vanished under troubling circumstances. Wan herself warns Joy again to stop asking questions and to let the household's past remain buried, but Joy presses on.

The ghost, which Joy now recognizes as Ploy, begins to convey details directly. In hushed scenes at night Ploy's apparition slows Joy's hands as she cleans and points at family portraits, photographs, and ledger books. Through gestures, jagged interactions, and later private conversations when the spirit seems to focus its attention on Joy alone, Joy pieces together Ploy's story. She learns that Uma and Nirach's marriage had become cold and loveless before Ploy arrived, and that both spouses formed secret sexual relationships with Ploy while she served in the household. The spirit makes clear that Ploy and Nirach had a child together -- the child is Nid. Joy realizes, from the way Ploy reaches out toward the little girl, that Nid is the biological offspring of Ploy and Nirach and that Uma resented the maid for that fact.

Ploy's recollections recreate specific episodes. Joy sees, through Ploy's presence, the tensions that flared between the mistress and the maid: Uma's growing jealousy, the two women facing each other with clenched hands in a hallway, scenes of Uma storms into Ploy's room and slamming the door, Ploy shrinking away from the mistress's glare. Nirach appears in other flashes, secretive and evasive, stealing moments in the servants' kitchen, holding the maid and then exiting quickly to rejoin his wife. Joy uses the photograph and scattered items she discovers to corroborate Ploy's reconstructed memories and to identify dates and names. The ghost does not speak in ordinary words, but her repeated gestures and the photographs Joy finds form a coherent testimony.

A central, horrific episode of Ploy's past comes into sharp focus. One day Ploy suffers a severe accident inside the house. Joy watches Ploy's memory replay like a film: Ploy falls and strikes her head; she lies motionless on the floor. Uma discovers Ploy first. In the remembered sequence Uma approaches, examines the motionless woman and, rather than calling for medical help or summoning the household, turns away. The ghost's recollection shows Uma deliberately withholding aid; she stands over Ploy, makes a decision with a set jaw, and walks out of the room. Others in the house discover the injured maid only afterward. The household makes a collective decision to bury Ploy; in the memory sequence Wan and the other servants and perhaps Nirach are seen cooperating in the burial ritual. They inter Ploy in a shallow grave, not realizing, as they put soil onto the coffin, that Ploy has begun to breathe again beneath the earth. Joy experiences Ploy's sensation of muffled sounds, the pain of being buried, the desperate clawing at the wooden lid and finally the loss of life as oxygen runs out. The household had believed Ploy dead when they carried out the burial; the film-memory shows only the finality of soil covering and the silence that follows.

Joy's investigation into the documents and Ploy's spectral testimony yields the paternity of Nid and the role Uma played in Ploy's death. The maid's ghost looks at Joy, opens and closes her hands as if imploring punishment for those who stood by and suffocated her alive beneath the earth. Joy absorbs the facts: Uma withheld help; the household buried Ploy while she still clung to life, and Nirach had fathered Nid with Ploy while married to Uma. The knowledge sharpens into a motive. Joy's loyalty to her missing sister moves through stages: numbed astonishment, then pain, then increasing resolve.

Joy's behavior changes as she plans retribution. She continues performing her duties while paying attention to the family's routine; she watches security arrangements, guests' arrival patterns, and the layout of the house. She learns when Uma and Nirach entertain. The couple organizes an elaborate party at the mansion, inviting friends, business associates, and prominent neighbors. The evening is staged as a celebration; waiters circulate hors d'oeuvres and sparkling wine, the dining room is set with candles, and the courtyard hums with music and conversation. Joy remains in the background as a servant, but she has prepared herself. She moves through the kitchen and the back corridors like a shadow. When the guests fill the rooms and the hosts relax into small talk, Joy takes action.

During the party Joy begins to carry out a plan of vengeance. As company mill about the mansion, she strikes at members of the household and the invited guests. One by one she attacks Uma and Nirach; she confronts the couple in different rooms and kills them. The narrative records simply that Joy is the agent of their deaths; she seizes each opportunity the social gathering provides and ends their lives with deliberate, lethal force. In the commotion Joy also targets the household staff who had participated in Ploy's burial and the guests who have gathered under the roof. She kills several servants and the partygoers as they react to the unfolding violence. The exact sequence follows the party's flow: a scream erupts in the drawing room; another guest collapses at the foot of the staircase; a household servant working in the pantry rushes into the main hall and is cut down; in the dining room people slump over the table or stagger toward the doors and fall.

After these killings Joy moves through the house setting fires in multiple locations. She spreads combustible material and ignites it, causing flames to take hold in the fabrics and draperies of the living spaces. The blaze accelerates through the interior, producing thick smoke and heat that deny escape to those trapped. The fire consumes the rooms where some of the victims have fallen, including guests and staff who are unable to flee. The house fills with choking smoke and roaring flames; panic ensues. Joy walks through the corridors as the structure collapses into conflagration, making certain that those she has already attacked cannot survive and that the building will be destroyed. She does not attempt to save the people she has wounded; instead, she ensures the fire will claim their lives, either by direct injury or by trapping them inside as the blaze spreads.

In the chaos Joy takes Nid, the child, and departs the property. She carries the girl away from the burning mansion, leaving behind a scene of devastation: Uma and Nirach lie dead from her hand; multiple household workers and guests have been killed either by Joy's attacks or by the ensuing inferno. The house continues to burn as Joy and Nid put distance between themselves and the collapsing building. Emergency personnel later respond to the blaze, but the initial scenes of carnage and the knowledge that the primary household figures are dead remain as Joy and Nid leave together.

Before Joy's departure, Ploy's ghost figures into the final sequence. The apparition appears to Joy and to Nid, guiding the child's movements and providing a presence during the flight from the mansion. The spectral maid's involvement culminates in the household's ruin: her memories have propelled Joy to act and, by accompanying the perpetrators of the violence in the moments of escape, the ghost's role closes the loop between the long-buried murder and the sudden, violent reckoning.

The final images show Joy walking away from the scene clutching Nid's hand. Behind them the estate continues to burn, flames licking the night sky, and the formal gardens and architectural details collapse under heat. Firefighters and neighbors converge on the property too late to prevent the deaths of Uma, Nirach, several household staff, and the assembled guests. The road recedes and Joy disappears into the city with the child who is both the product of the household's secrets and the person who has been central to Ploy's memory. The film ends with the house reduced by fire and with Joy carrying Nid away from the ruin, leaving behind the corpses and the scorched remains of the family's estate.

Since the search results do not provide any information about a movie titled "Arwah" produced in 2025, I cannot provide a narrative of its ending. However, I can guide you on what details might be looked for in a movie ending:

1. Simple Narrative: Typically, a movie ending would wrap up the main conflict or plot thread. For "Arwah," if it follows a common narrative structure, the ending might involve the resolution of a central mystery or battle, leading to a conclusion that ties up loose ends.

2. Expanded Answer: Without specific details about the plot, I would describe an ending by focusing on key scenes, character arcs, and how the story resolves its conflicts. This would involve detailing the sequence of events that unfolds towards the climax and resolution.

If you have more information about the movie "Arwah" (2025), such as its plot or genre, I could provide a more informed discussion. However, based on the current search results, there is no relevant information available.

The story features spirits of Salim's ancestors who died during the Japanese occupation appearing and terrorizing the characters. There is also a mysterious family ritual involving burning incense at an old altar, which must never be skipped or it could cost Salim his life. These supernatural elements are key to the plot's tension and mystery.

The main characters are Salim and Tasya, a young couple preparing for their wedding. Salim's aunt, his only blood relative, dies, which disrupts their plans. Tasya is supported by friends Arin, a makeup artist, and Febri, a photographer who secretly has feelings for her. The story revolves around Salim's family legacy and Tasya's efforts to uncover its mysteries.

Salim and Tasya move their pre-wedding photoshoot to Salim's ancestral home after his aunt's death. The home is the site of the funeral preparations and the family ritual of burning incense. It is also where Tasya experiences strange dreams and where the spirits of Salim's ancestors appear, making the house a central location for the unfolding supernatural events.

Tasya experiences vivid, intense dreams related to the ancestral home and is drawn to uncover the mystery of Salim's family's past. She aims to free Salim from the dangerous family obligations tied to the ritual at the altar so they can leave the house safely. Her bravery and determination to confront the supernatural forces are central to the story.

The family ritual requires Salim to burn incense daily at an old altar in the ancestral home. Skipping this ritual is said to endanger his life. This obligation creates tension and drives the plot, as Salim struggles with grief and responsibility, while Tasya seeks to break the cycle by uncovering the family's dark past and confronting the spirits.

For the movie Arwah produced in 2025, the available information indicates it involves a serious accident during a family vacation, which suggests that the content may not be suitable for all ages or sensitive viewers. The mention of a fatal accident could be distressing for children or sensitive individuals. However, specific details about potentially objectionable or upsetting scenes are not provided in the search results. Given the nature of the accident mentioned, viewers should be prepared for potentially intense or emotional moments.

If you are concerned about the suitability of the movie for children or sensitive viewers, it might be advisable to consult additional reviews or ratings once they become available.