What started as a novel idea to evoke nostalgia in theatres, the trend of re-releasing films is quickly turning into an overload. Almost every other day, there’s news of a new re-release. While a film like Laila Majnu (2018) was brought back to theatres to offer the theatrical experience they missed during their original release, others like Taal (1999), Tum Bin and Rehnaa Hai Terre Dil Mein (both 2001) seem to be simply jumping on the bandwagon. But is this re-release overload becoming a buzzkill, or is it fuelling a growing trend?

Trade analyst Komal Nahta believes it’s too much, too soon: “Definitely, it’s an overkill. It’s difficult to predict how long this will go on, but it won’t last forever. People will soon get tired of watching old films. Right now, they’re rushing to the theatres because it’s a novelty, but that won’t last.”

Varun Gupta, founder director at Max Marketing, agrees: “It’s a fad, not a trend. The reason some films are working is that very few people saw them in theatres during their original release. There’s no real nostalgia there. It’s more about people catching up on what they missed. But this doesn’t apply to all films... Hum Aapke Hain Koun...! (1994) re-released but didn’t pull in the numbers. The re-release culture isn’t a cash cow.”

Offering a fresh perspective, Kamal Gianchandani, CEO of PVR INOX Pictures, sees re-releases as part of a bigger trend. “These films gained more popularity on streaming platforms, and cinemas are giving audiences a differentiated experience,” he explains.

When asked if this trend will fade, he says, “Maybe. But people said the same about pan-India releases, and those are here to stay. Some films will do well, others won’t.”

Devang Sampat, managing director at Cinepolis India, sheds light on the financial angle. “Re-releases have contributed positively to business, but new releases generally offer higher margins for theatres. The share percentage for new films is higher, but the affordability of re-releases attracts more footfall. Theatre business thrives on balancing the two.”

To avoid re-release fatigue, Sampat suggests focusing on “high-demand films and pairing them with strong promotional strategies”. “This way, theatres can keep the concept fresh and prevent it from losing its charm,” he ends.