Ever since lights on the big screen turned back on after the pandemic lull, there have been back-to-back releases to ease up the clogged release calendar. Some, however, are making their way to the theatres without much buzz. This doesn’t imply that theatres have become dumping grounds, but heralds the trend of the token release — films being released on a small scale in select theatres in order to help streaming platforms gauge the right price for deals.

“Streaming platforms are very clear that they want films to go to the box office and see how they perform there. Based on that, they will find the right price to acquire it,” shares exhibitor Akshaye Rathi.

Since for many films, deals with OTT platforms and satellite channels are done in advance, the latter have made it necessary for many projects to release in theatres first. “That is why filmmakers are opting to release films at limited screens — as a token release. They know it is crowding the box office, but OTT giants are not willing to take any or every project for their platform,” notes trade expert Komal Nahta.

Explaining the idea behind building the buzz prior to the pandemic, marketer Varun Gupta says, “A lot of films were sanctioned by OTT players even before they went on floors, for a minimum commitment that they will pay to the producers or the studio, once the film releases in theatres.” But things changed after the pandemic.

A film’s producers would get the decided amount only if it released in theatres. “Hence, these films are being released more as a formality, in very, very select screens, because the producers know that nothing is going to come out of it in terms of box office. And that is the reason they didn’t put the money in marketing and promotions,” Gupta adds.

Another factor forcing makers to skip pre-release buzz, are the rising costs of marketing. Producer Ramesh Taurani says, “Promoting a film has become very expensive, which is why many films are skipping it and just hoping the audience will come in with word of mouth.”

Producer Anand Pandit agrees, saying, “Earlier if we used to put in Rs. 1 crore, we would be sorted because the mediums were also limited. Now, the options are unlimited — print, online, digital, TV, tours etc. Now, unless you put Rs. 6-7 crore in the marketing, you will not get noticed, which a lot of films can’t afford.”