Showing posts with label Girish Johar. Show all posts
Showing posts with label Girish Johar. Show all posts
Box office collections jump 17% as Indian films deliver across genres
9:40 AM
Rising footfalls, which touched 378 m during Jan-June, and Hollywood hits add to stellar collections this year so far: Experts
Rajesh N Naidu (THE TIMES OF INDIA; October 21, 2026)
Mumbai: The performance of Indian films so far in 2026 provides hope of a sustained revival in the industry. Box office collections and footfalls at movie theatres have both posted healthy growth, according to a study by media and entertainment research firm Ormax Media. More importantly, according to film industry experts, movies across sizes, languages and genres have done well, in what a trade analyst termed as “revival of range”.
Footfalls at movie theatres increased 5% from a year earlier to 378 million between January and June this year, show Ormax Media data. Footfalls in the last three years had either fallen or stayed flat. Cumulative box-office collection in the nine months ended September grew 17% to Rs. 11,000 crore from Rs. 9,409 crore a year earlier.
The year is also about the returns that films across languages generated relative to their budgets, said producer Anand Pandit. “Audiences have increasingly accepted stories which feel authentic,” he added.
Malayalam film Bethlehem Kudumba Unit, made on a budget of Rs. 25 crore, collected Rs. 192 crore in India alone. Films across sizes and genres have shown similar success. These include Hanuman Ansh (small-budget, devotional), Awarapan 2 (mid-budget, romance), Mirzapur The Movie (OTT, mid-budget), DC (mid-budget, slick action), Irumudi (mid-budget, devotional), Premada Oorali (small-budget, family drama) and Dhurandhar The Revenge (big-budget, franchise value).
Changing audience preferences and tastes are the key reasons behind these successes, said producers. “Theatrical audience is coming in for newer experiences and rejecting ‘sameness’,” said producer Sunir Khetrpal. “Audiences are gradually but definitely becoming agnostic about genres, language or star status.”
Increasingly, regional makers have been focusing on their home territories first. After resonating with their audiences in home states, these films travel to other territories through word-of-mouth recommendations and social media discussions.
These films have demonstrated that theatrical success is more about emotional connection with stories, said producer and film business expert Girish Johar. “Emotional connection with stories is a common aspect in most theatrical successes across languages in 2026,” he said.
A similar story has played out in the India box office performance of Hollywood films as well. Films across scales and genres such as Obsession, Michael and The Odyssey have succeeded in India.
“Social media platforms, especially Instagram, YouTube, shorts and forums such as Reddit, are increasingly building audiences for Hollywood films in India,” said Shaaminder Malik, a distributor and film business expert.
In the remaining period of 2026, Hollywood films such as Avengers: Doomsday and Dune: Part Three, and Hindi films such as Ramayana and King are expected to boost collection further, said film trade analysts.
They expect Hollywood’s contribution to India’s box office likely to grow to 20-21% from the historical average of 15%.
| Language Share of India Box Office (%) | |||
| Language | 2026* | 2025 | |
| Hindi | 39 | 38 | |
| Telugu | 18 | 20 | |
| Tamil | 13 | 15 | |
| International | 14 | 12 | |
| Malayalam | 8 | 9 | |
| Kannada | 3 | NA | |
| Others | 5 | 6 | |
| Source: Ormax Media, *data till September | |||
Awarapan 2, DC, Chennai Love Story: Mid-budget movies scripting success at box office too
2:32 PM
Recent movies made at a budget of about Rs. 50 cr have become huge theatrical hits as audiences open up to realistic stories
Rajesh N Naidu (THE ECONOMIC TIMES; August 20, 2026)
Mumbai: The mid-budget theatrical space is increasingly seeing signs of clear recovery. This is demonstrated in the box office performance of recent mid-budget films across languages.
Recent mid-budget films, such as Awarapan 2 (Hindi), DC (Tamil), and Chennai Love Story (Telugu), have each collected Rs 59-Rs 100 crore at the box office. These films have been made in the budget range of Rs. 15-50 crore,
This impressive box office yield, especially amid the stupendous and sweeping success of Hollywood spectacles or event films such as The Odyssey and Spider-Man: Brand New Day, has challenged the general assumption that audiences prefer to watch mid-budget films only on streaming platforms and not in theatres, the film fraternity told ET.
In the past few years, the mid-budget theatrical space has gradually turned into a risky bet as a category. High ticket prices, rapid acceptance of streaming platforms, increasing focus of streamers on profitability and costs, and a clear preference for big-budget films among streamers to boost their brand equity impacted the recovery of investments in mid-budget theatrical films.
Additionally, many mid-budget theatrical films have bombed, reducing audience interest in this space.
But recent successes show that audiences have not abandoned this space.
Compelling Content
“A strong story, emotional connection, music, nostalgia and word-of-mouth can still turn a mid-budget film into a theatrical event,” said Suniel Wadhwa, co-founder & director, Karmic Films.
Historically, mid-budget films have always been realistic stories. Interestingly, after the pandemic, audiences have become more open to realistic stories than escapist fares, seasoned regional producers told ET.
“Usually, one would expect audiences to lap up light content, especially after a life-changing pandemic period. But the data shows that audiences have been liking horror and realistic content. Unlike in the past, today’s audiences want to watch realistic stories and not escape from them. And this expectation is being fulfilled by mid-budget films,” said Naveen Chandra, founder and CEO of 91 Film Studios, a company that produces, finances, and distributes regional films.
Also, high acceptance of streamers for entertainment has not necessarily killed appetite for mid-budget films. On the contrary, streamers’ content has raised audience tastes.
“Streamers have made audiences selective about mid-budget movies and not anti-theatrical,” said Shaaminder Malik, a film distributor and trade analyst.
Audiences, too, want community experiences outside their personal devices. This craving has brought about a certain openness toward genres and sizes of films. If they find a connection or reason for watching a film of any size through their social media networks, then they watch it.
“After almost indulgent content consumption on streamers during the pandemic and a few years after it, today’s audiences are experiencing a sense of fatigue about watching streaming content on devices. They are finding a sense of community in theatre visits and live events,” explained Girish Johar, producer and film business expert.
In the past few years, producers have been supporting the idea of high mid-budget films due to increasing uncertainty in box office performance of films.
“The future cannot be only about Rs. 300-500 crore spectacles. A Rs. 10-50 crore film that audiences turn into a Rs. 100-150 crore success is a more sustainable model,” said Wadhwa of Karmic Films.
Spider-Man: Brand New Day helps pave the way for Marvel Studios to come back into the game in India
8:58 AM
New Spider-Man film has made records, ending the studio’s recent dull run
Rajesh N Naidu (THE ECONOMIC TIMES; August 1, 2026)
Mumbai: Marvel Studios has staged a strong comeback at the Indian box office with Spider-Man: Brand New Day becoming the country's highest-opening Hollywood film.
The movie collected Rs 60.60 crore on its first day and recorded an average occupancy of 72.3% across India, according to Sacnilk, marking a sharp resurgence for the studio after several recent releases received mixed and modest response.
"The extraordinary response to Spider-Man shows that Marvel Studios' resurgence has truly begun. The film's first-day collection is around 60-70% higher than that of the previous Spider-Man film. This makes it a major win for both Sony and Marvel in India," said Kamal Gianchandani, chief business planning & strategy, programming, PVR INOX.
In the past seven years, barring long-established and familiar characters such as Spider-Man, Doctor Strange, and Thor, Marvel Studios' films featuring new characters from its cinematic universe have received a mixed or modest response in India. Films such as Eternals (2021) and The Marvels (2023) did not perform well, largely because of superhero fatigue among audiences and the swift introduction of new Marvel characters for which audiences were unprepared.
Among Marvel's characters, however, Spider-Man continues to be a dependable theatrical franchise for Sony Pictures.
"The film's success reflects the enduring appeal of Peter Parker as a character and demonstrates that when audiences connect with a compelling story and a cinematic experience, they show up in huge numbers in theatres," said Shony Panjikaran, general manager and head, Sony Pictures Releasing International, India.
Producers pointed out that the frenzy for the Spider-Man franchise among Indian audiences can be gauged from the significant contribution of its dubbed versions to the film's total India collection. They also pointed out that the opening day collection show there is no superhero fatigue among Indian audiences.
"This opening sends a strong message about Marvel's position in India. Audiences have not moved away from superhero cinema; they have simply become more selective,” said Suniel Wadhwa, co-founder & director, Karmic Films.
"Spider-Man today is a genuinely pan-India theatrical brand. Over 40% of its advance business comes from dubbed versions. When a globally loved character combines franchise equity, spectacle and true event value, Indian audiences continue to respond in extraordinary numbers. Brand New Day could well mark the beginning of fresh theatrical momentum for Marvel in India," added Wadhwa.
Another aspect that could serve as the foundation for a solid and successful second innings for Marvel Studios in India is the point at which the last Spider-Man film ended, distributors said.
"The ending of Spider-Man: No Way Home was not just a good ending for Peter Parker. It was a strategic reset that gave Marvel Studios enormous creative freedom and helped rebuild the Marvel Universe organically. Spider-Man is likely to provide Marvel Studios with fresh momentum and a breeding ground for new stories featuring familiar characters in India," said Shaaminder Malik, a film distributor and trade analyst.
Film trade analysts estimate that the film will easily surpass the previous instalment's India collection. Spider-Man: No Way Home, the previous film in the franchise, collected Rs 218 crore in India.
"The Spider-Man success is not happening by chance. It is part of a carefully planned strategy by both Sony and the Marvel team, with a fresh approach focused on stronger storytelling and its most-loved characters. I think the film will surpass the last Spider-Man movie's collection," said Girish Johar, producer and film business expert.
Hollywood returns to India box office spotlight with Spider-Man: Brand New Day, The Odyssey and others
3:05 PM
Packed slate of major releases could help exhibitors rake in robust collections in the coming weeks
Rajesh N Naidu (THE ECONOMIC TIMES; July 15, 2026)
Mumbai: Hollywood’s tentpole films have steadily gained ground at the Indian box office over the past 18 months, a trend industry insiders expect to accelerate this month as a cluster of major releases arrives within a fortnight, boosting overall collections.
From superhero spectacle Spider-Man: Brand New Day and auteur-driven The Odyssey to kids and family entertainment Moana and horror genre Evil Dead Burn, Hollywood films offer exhibitors strong potential for robust collections in the coming weeks, exhibitors, film trade analysts and producers told ET.
“Hollywood has enjoyed a strong run in 2026, with films such as Obsession, Project Hail Mary and Michael, among others, reaffirming the strength of the English-language box office in India. The upcoming line-up is also remarkably diverse,” said Gautam Dutta, chief executive, revenue and operations at PVR Inox.
Diverse themes and audience segments are likely to play a pivotal role in the success of these event films, trade insiders said.
They foresee a highly favourable response, especially to Christopher Nolan’s The Odyssey and Spider-Man: Brand New Day, given their loyal fan bases.
“There is a large fan base for director Christopher Nolan, actor Tom Holland and Marvel films in India,” said producer Rajesh R Nair. “The success of Hollywood films over the past year has become even more visible because of the weak content coming from Hindi cinema. In July, these four films are likely to perform well as there is almost no competition, even from regional cinema,” he added.
According to trade sources, Spider-Man: Brand New Day has already generated pre-sales of Rs 5 crore in India, while The Odyssey has recorded pre-sales of around Rs 2 crore.
Distributors said the two films will be showcased extensively in premium-format screens, which is expected to further boost box-office collections in July.
“These Hollywood films will be released across premium large-format screens such as IMAX, ScreenX, 4DX and P[XL]. Ticket prices in these formats range from Rs 700 to Rs 3,300,” said Shaaminder Malik, distributor and film business expert.
“One must also bear in mind that they will be released in multiple Indian languages. Therefore, these global tentpole releases are likely to drive repeat visits to theatres, thereby boosting occupancy and collections.”
Film trade analysts estimate that, cumulatively, these four films could contribute close to Rs 400 crore to the Indian box office. They pointed out that a collection of Rs 20-30 crore is generally enough for a Hollywood film to be considered a hit in India.
“I expect The Odyssey and Spider-Man: Brand New Day to outperform the other Hollywood releases in the coming weeks. Both films can easily collect at least Rs 300 crore, given the high level of audience interest,” said Girish Johar, producer and film business expert.
Dhurandhar and then what? Bollywood's box office blues return after one big hit
10:38 AM
Outdated story formulas, fading star power bring string of failures soon after the success of Dhurandhar 2
Rajesh N Naidu (THE ECONOMIC TIMES; June 18, 2026)
Mumbai: After the blockbuster success of Dhurandhar The Revenge, Hindi cinema has slipped back into a slump, with at least seven consecutive box-office failures following the moderate performance of Bhooth Bangla, trade data showed.
Films such as Chand Mera Dil, Ek Din, Daadi Ki Shaadi, Pati Patni Aur Woh Do, Hai Jawani Toh Ishq Hona Hai and Bandar, despite featuring well-known casts and filmmakers, have failed to draw audiences.
Industry experts told ET that Bollywood's continued dependence on outdated storytelling formulas, fading star power, inability to adapt to evolving audience preferences, weak marketing campaigns and the failure to turn films into social media-driven cultural events have all contributed to the poor performance.
Producers and exhibitors said the industry has struggled to organically build audiences around films before their releases, a strategy increasingly crucial for box-office success.
Also, increasingly, makers in the Hindi film industry have a huge disconnect with audiences' tastes, said exhibitors.
"These films are rejected. Audiences want to come to theatres. The successes of Tamil film Karuppu or even the small-budget experimental horror film Obsession prove it. One needs to bring the right product at the right time. This is how the business works. Smart producers adjust to genres and not make what they think audiences will like," explained Vishek Chauhan, CEO of Roopbani Cinema, a single-screen theatre in Bihar.
"Earlier, big directors would constantly communicate with well-penetrated distributors to understand audiences' preferences and tastes. This is how they made films. This is not the case today," he added.
Apart from animation, horror genre has emerged as a favourite among audiences in India and abroad. Recently, a small-budget franchise Hindi film Haunted – Echoes Of The Past, which was released without marketing, collected Rs. 13.5 crore in the first six days of its release.
Another reason may have been dated stories and style. "These recent films are made in the old mould. You cannot make a Hindi film with the 1990s story and expect it to click with audiences. Today, audiences reward 'unique' writing. It is not about stars or a film's budget. Given the high costs that are involved in a theatre visit, these films made in the old mould do not provide a strong reason for audiences to come to theatres," said producer Rajesh R Nair.
"It is about intent. After the pandemic, I have not seen a major film launched which has matched up to the evolved taste of audiences. The intent is totally missing. If one starts a film then one must sense the audience's tastes 18 months in advance to be relevant," explained Girish Johar, producer and film business expert.
25 Years of Lagaan, Gadar: Two films, one release date... and the rest is history
9:27 AM
25 years ago today, Gadar: Ek Prem Katha and Lagaan hit theatres and went on to become two of Indian cinema’s biggest success stories. We speak to members of the film fraternity as they look back on the excitement surrounding this box-office clash and reflect on what makes both films enduring classics even today
HINDUSTAN TIMES (June 15, 2026)
The expectations before release day
Filmmaker and trade expert, Girish Johar recalls that Gadar was already carrying tremendous buzz before its release. Its music had become popular and audience anticipation was high. In comparison, Lagaan appeared to be lagging initially.
“People couldn’t quite understand what Lagaan was about from its early promotional material. The creative images showed 11 men in rural costumes. And at the time, (Gadar director) Anil Sharma was a far more commercially successful director than (Lagaan director) Ashutosh Gowariker, so the odds were largely in Gadar’s favour,” he says.
Johar adds that Lagaan’s lengthy runtime also posed challenges. “Being a three-hour film, only a limited number of shows could be accommodated. There was also confusion over whether the film would have one interval or two. But the clash itself was incredibly exciting. Exhibitors were eager to screen both films, but show-sharing wasn’t common in single-screen theatres then. It was a tough call which film to screen, but all these are now fond memories.”
Why both films struck a chord
Nitin Datar, former president of the Cinema Owners and Exhibitors Association of India, recalls that many single-screen theatres preferred allocating more shows to Gadar during its initial run.
Explaining the reason, he says, “Gadar was an action film in which the protagonist takes on Pakistan’s police and political leaders. It evoked national sentiments among the audiences. I still remember people shouting ‘Bharat Mata Ki Jai’ inside theatres.”
He points out that Lagaan also carried a patriotic undercurrent, though in a very different way. “Lagaan was also rooted in national pride, but the conflict was against the British and was expressed through a cricket match rather than direct action. But ultimately both the films did well.”
DID YOU KNOW?
- Lagaan became the first Hindi film to be shot using sync sound which means that dialogues and sounds were recorded live during the shoot itself.
- Lagaan travelled to various international film festivals across the world but more importantly, it was nominated in the Best Foreign Language film at the Oscars 2001. The film’s selection was a moment of pride for Hindi cinema as it was for the first time that a commercial film had been nominated at the Oscars.
- Lagaan was the maiden production of Aamir Khan’s production house.
The legacy continues through re-releases
To mark its 25th anniversary, Lagaan returned to theatres for a limited three-day re-release on June 12, 13 and 14.
“Twenty-five years on, Lagaan remains one of Indian cinema’s defining achievements. Its return to theatres is both a celebration of the film and an opportunity for audiences to experience the scale, ambition and storytelling that make cinema timeless,” says Niharika Bijli, Lead Strategist, PVR INOX Limited.
Meanwhile, Gadar enjoyed a successful re-release in 2023, becoming one of the highest-grossing Bollywood re-releases in India. According to trade experts, the film earned an impressive Rs. 7.78 crore during its repeat theatrical run.
SUNNY DEOL’S POP CULTURE MOMENT
Sunny Deol’s ‘handpump scene’ in Gadar: where his character Tara Singh uproots a hand pump and uses it as a weapon became iconic. What was intended as an over-the-top display of emotion and strength became one of the most recognizable images in Indian pop culture.
- Natasha Coutinho
Filmmakers discover a good controversy can be best for box office success
3:57 PM
Rage-bait cinema—films that tend to trigger social media debate —is emerging as a post-release marketing tool that keeps audience buzz alive
Rajesh N Naidu (THE ECONOMIC TIMES; April 20, 2026)
Rage-bait cinema — films which contain elements that spark polarizing debates on social media — is increasingly turning out to be an effective marketing tool in keeping a film alive in the public consciousness after it has resonated with audiences by providing incremental footfalls, said producers, veteran film marketing professionals, distributors and film trade analysts to ET.
Such films stay alive in public consciousness after release by fuelling online arguments, especially when makers tap into uncomfortable social truths that keep conversations active and extend box-office momentum, industry executives said.
“Today, 60% of cinema chains are concentrated in the NCR (National Capital Region) and Mumbai territories. This shows how important are these territories in terms of business. These territories have changed tremendously due to social media,” said Neeraj Joshi, a film marketing and strategy consultant.
“Today, almost every action of people on social media is about performance and activism. So, makers consciously insert elements in their films which capitalize on uncomfortable truths and fault lines contained in the worldview or value system of audiences.”
Recently, the American romantic comedy film The Drama sparked heated debate on social media, with some viewers saying its gun activism theme felt completely out of place in a light-hearted film from the romance genre.
Such kind of insertions in plots works for both camps—the supporters and the protestors, said film marketing strategists.
“Online debates around films often serve as a marketing tool particularly for those films which aim to become a talking point. Virality generates both positive and negative perspectives, while also drawing fence-sitters to theatres, leading to incremental footfalls,” said Saurabh Varma, a veteran film marketing strategist.
“Additionally, through virality, makers aim to gain attention of streamers and film rights buyers who tend to favour films which achieve high visibility and engagement.”
Last year, the big-budget film Dhurandhar that released on December 5, collected Rs. 103 crore on its opening weekend, indicating that the film resonated with audiences. However, within a few days of its release, debates about its historical authenticity and whether it is a nationalistic or propagandist film emerged on social media. These debates piqued audience’s interest and provided incremental footfalls as in the second weekend — between December 12 and December 14 — the film collected Rs 140.5 crore.
Film trade analysts believe that social media debates can potentially transcend and become a 360-degree buzz if a film deeply resonates with audiences first.
“When a film resonates deeply with audiences, social media debates can become a 360-degree buzz covering radio, television and even newspapers. This provides incremental footfalls,’ noted producer and film business expert Girish Johar.
Producers acknowledge the growing importance of the audience in shaping narratives.
“Social media has become a battleground of identity, politics and morality. Today, audiences have a larger role than critics in shaping big narratives given the democratization of social media platforms. However, a social media debate alone cannot provide incremental footfalls to films which have not resonated with audiences,” observed Suniel Wadhwa, cofounder and director of Karmic Films.
Social media’s algorithmic structure also fuels and reinforces views and debates which trigger audience’s curiosity.
“We live in an age of algorithms which keep people in echo chambers. When films have morally ambiguous elements and when there is boycotting sentiment, usually, audiences become curious and go and watch films in theatres,” said Shaaminder Malik, a film distributor and trade analyst.
Overseas film distributors rework terms to cut risks
8:26 AM
Focus on refundable advances rather than minimum guarantee amid West Asia tensions
Rajesh N Naidu (THE ECONOMIC TIMES; March 21, 2026)
Overseas distributors of Indian films are changing their business model to reduce risks of loss amid the West Asia war even as they continue to buy films from Indian producers, producers, overseas distributors and film trade analysts told ET.
"Broadly, business is still moving in the overseas markets including the Middle East, but the mood is more cautious rather than frozen," said Adi Tiwary, an Australia-based producer, consultant and a former international distribution partner.
To deal with the uncertainty in revenues, overseas distributors are increasingly opting for refundable advances, where the producer must repay the difference in case the film's net collection falls below the advance payment along with the distribution commission and expenses incurred in obtaining a film, experts said.
Historically, overseas distributors have been paying minimum guarantees (MGs), which are non-refundable, to producers to secure distribution rights for films expected to perform well in box-office.
They are also becoming more selective in buying films to deal with the uncertainty.
"Overseas distributors are focusing on films which do not have nationalist themes as they appeal to larger audiences," said a distributor requesting anonymity.
Gulf exposure
The Gulf countries, which are among the most impacted in the ongoing war, contribute 15-20% to the total overseas collections of most Hindi films, trade analysts said. But the share is at least 10% higher for most southern films, making them more vulnerable.
In fact, Malayalam films derive over 80% of their international business from the region, producers said. "Many South Indian films are pre-sold overseas on minimum guarantee deals. If uncertainty sustains in the Middle East, then distributors may push for refundable advances than MGs for upcoming southern films," said Suniel Wadhwa, cofounder and director at Karmic Films.
However, there is no change in release schedule for southern films, experts said.
"I think producers and overseas distributors are ready to take a hit," said Chennai-based entertainment sector analyst Ramesh Bala.
Market shift
Trade analysts said overseas distributors are now increasing focus on markets other than West Asia. "This is a sound strategy to make up for potential revenue losses from the Middle east region," said Girish Johar, producer and industry expert.
Also, distributors can release films in West Asia much later than other territories, a veteran distributor noted.
Dhurandhar 2 pre-sales soar: Can Bollywood’s sequel curse be broken?
9:51 AM
The film to release in India on 5,000-5,500 screens, could earn up to Rs. 80 cr on opening day
Rajesh N Naidu (THE ECONOMIC TIMES; March 9, 2026)
Mumbai: After a string of underwhelming Bollywood sequels — War 2, Dhadak 2, Mastiii 4, Jolly LLB 3 and De De Pyaar De 2 — the industry is watching whether Dhurandhar 2 can buck the trend. Exhibitors and distributors are citing strong early demand that suggests the film could break the jinx at a time when Bollywood is grappling with box office volatility and old formulas that are no longer working.
According to film trade analysts, the film will release in India on 5,000–5,500 screens and is likely to record Rs 75-80 crore in collections on opening day, March 19.
Audience appetite has been whetted by the blockbuster success of espionage actioner Dhurandhar, directed by Aditya Dhar and starring Ranveer Singh, Akshaye Khanna, Sanjay Dutt and others. Released in 2025, Dhurandhar is one of the biggest films ever, having grossed Rs. 1005.8 crore in India alone and close to Rs. 300 crore in the overseas markets, according to box office data research firm Sacnilk.
In overseas markets, the sequel has generated advance or pre-release ticket sales worth $800,000.
“This is not an ordinary sequel. Audiences have already bought tickets worth more than Rs 5 crore for preview shows (March 18) alone,” said Shaaminder Malik, a film distributor and trade analyst. “They don’t want to know spoilers before their theatre experience. Tickets are being sold in a premium price range of Rs 300 to Rs 2,500 for a four-hour film. This shows the audience’s eagerness.”
Experts said Dhurandhar 2 is a proper tentpole release expected to drive significant box-office momentum.
“It is already reflected in its ticket sales,” said Gautam Dutta, CEO, revenue and operations, PVR Inox. “It will be the biggest release in terms of screens in India. In fact, a comforting factor is that the film has at least two weeks with no major release, which means the scope for record collections is high.”
Optimism about Dhurandhar 2’s performance increased recently with the release of Toxic: A Fairy Tale For Grown-Ups being delayed--it was to have debuted on the same day.
“The postponement of Toxic: A Fairy Tale For Grown-Ups has effectively cleared the competitive landscape for Dhurandhar 2,” said Suniel Wadhwa, co-founder and director, Karmic Films. “When two highly awaited big films don’t clash, exhibitors typically allocate 40–50% more premium screens and show slots to the releasing film, which can materially strengthen its opening-day collection. In theatrical economics, clashes create headlines, but clear release windows create box office records.”
Dhurandhar 2 will be dubbed in all four southern languages, unlike the original, which was released only in Hindi.
“The sequel is dubbed in multiple southern languages, which broadens its reach in the southern territories, thereby significantly boosting its India collections by at least 25–30%,” said producer Rajesh R Nair. Screen density, especially single-screen halls, and overall screen share (over 50%) in the southern markets is higher than in the rest of India.
Conservative estimates by trade analysts suggest the film could record an opening weekend collection of Rs 250-300 crore.
“In the absence of competition, I think the film’s collections could easily be boosted by at least 25%,” said Girish Johar, film producer and industry expert. “Given the high audience interest, I foresee an opening weekend collection of Rs 300 crore for the film.”
Dhurandhar makes some movie makers nervous about 'Toxic' March
11:29 PM
About five movies, scheduled for release next month, are being postponed as Dhurandhar 2 and Toxic are set to hit theatres
Rajesh Naidu (THE ECONOMIC TIMES; February 20, 2026)
Mumbai: The release of at least five films in Hindi and southern languages scheduled for March has been postponed to avoid a clash with two big-budget movies that are set to hit the screens next month-Dhurandhar The Revenge and Toxic. These films include Sunny Deol's Gabru, Ram Charan's Peddi, Ayushmann Khuraana's Pati Patni Aur Woh Do and Adivi Sesh's Dacoit: A Love Story.
"The makers want to avoid competition given the high audience interest in Dhurandhar 2 and Toxic," said film distributor and trade analyst Shaaminder Malik.
Ranveer Singh's Dhurandhar 2 and Toxic starring Yash-both scheduled for release on March 19-are expected to draw huge audiences, trade experts said. This could cause fewer footfalls in theatres for other films.
"There is high audience interest for both films. They stand a fair chance of faring equally well," said Bhuvnesh Mendiratta, managing director at multiplex chain Miraj Cinemas. "Dhurandhar 2 is riding on the stupendous success of its original. Toxic is set to capitalize on actor's Yash stardom, his legacy of pan-India success and the film's genre itself."
These movies are also likely to benefit from the long festival weekend of Eid and Gudi Padwa, he said, predicting: "Cumulatively, these films could record net collecting amounting to at least Rs. 1,500 crore." Trade analysts do not foresee any negative impact of this clash on either film, citing instances of two big films releasing on the same day doing well.
"There are careful considerations behind these releases. I don't think Dhurandhar 2 will eat into Toxic's collections," said producer and film business expert Girish Johar.
Films like Gadar and Lagaan (2001), as well as Welcome and Taare Zameen Par (2007), which had been released on the same dates, had done equally well, he pointed out. "I estimate that cumulatively both films will collect Rs. 300 crore on the opening weekend itself. Even though both films belong to the same genre, I think the reasons to watch them in theatres are materially different," Johar said.
According to film trade analysts, Geetu Mohandas-directed Toxic is estimated to be made on a budget of Rs. 500-600 crore. A key reason for such a high budget is the makers have shot the film in Kannada and English, and dubbed it in Hindi, Telugu, Tamil and other languages, said exhibitors.
The combined budget of director Aditya Dhar's Dhurandhar and Dhurandhar 2 is estimated to be Rs. 350-400 crore, said trade analysts.
Though audience interest is high, exhibitors face the challenge of accommodating shows of both films in the first week. "Both films have strong distributors. Anil Thadani's AA Films, which will also distribute Ramayana, is distributing Toxic. PVR Inox will distribute Dhurandhar 2 in four major markets. Given these facts, exhibitors will face the challenge of accommodating shows of both films in the first week," said Malik, the film distributor and trade analyst.
"But by the second week it is the audience's preference which will dictate the programming clearly."
From bidding wars to box office returns: How streamers now price films
9:28 AM
Niharika Lal (BOMBAY TIMES; January 13, 2026)
Recent trade chatter suggests that Netflix has agreed to pay Rs. 130 cr approx for the streaming rights of Dhurandhar, covering both parts of the franchise. A few years ago, that number may have raised eyebrows for being too low. Back then, Netflix, Amazon Prime Video and Disney+ Hotstar were cutting much bigger cheques and asking far fewer questions.
According to trade analysts, film acquisitions have swung through multiple boom-and-bust cycles since the pandemic. A trade business analyst says, “What the OTT industry is seeing now isn’t exactly a correction, but equilibrium. And Rs. 130 cr is a huge amount in the current phase of streaming film acquisitions.”
We take a look at what goes on behind streaming platforms calling the shots on film pricing and how the system has changed.
‘Streaming platforms have tied acquisition price with theatrical performance’
During the pandemic, big titles sparked bidding wars among OTT platforms, which is not the case at wars among OTT platforms, which is not the case at present. Trade experts estimate that OTT rates for big-budget films have fallen, with platforms unwilling to pay premium pricing when theatrical performance is to pay premium pricing when theatrical performance is uncertain.
Post-pandemic, several films for which streaming platforms paid a huge sum delivered neither box office platforms streaming traction. Platforms took note
Film business analyst Girish Johar says, "In the last two years, platforms discovered that acquiring a big-star film – no matter how expensive – doesn't necessarily translate into new subscribers. At the same time, box office collections have also faltered, with several high-profile releases underperforming across languages. What was failing in cinemas, platforms realized, was also failing on their apps. Hence, streaming services revised the rules of acquisition, linking the price of digital rights directly to theatrical performance."
A film that worked in theatres, platforms reasoned, A film that worked in theatres, platforms reasoned, had already cleared the hardest test – audience had already cleared the hardest test – audience acceptance. Paying more for such a title was not a risk acceptance. Paying more for such a title was not a risk but a calculated bet, say OTT executives. but a calculated bet, say OTT executives.
The change in film acquisition by streaming platforms has changed since pandemic
Trade analysts say that during the pandemic, streaming services were in a kind of gold-rush mentality. Cinemas were shuttered, audiences were captive at home, and platforms were under pressure – from investors and global headquarters alike – to grow quickly.
"Producers, sensing leverage, began demanding prices that were two or three times the perceived value of their films. Platforms not only agreed, but in several cases, bidding wars emerged around major releases,” says Girish Johar.
As audiences returned to theatres, subscriber growth slowed, and engagement dipped as box-office flops flooded OTT platforms.
Factors that determine a film’s acquisition price
Under the new model, negotiations have become more measured and more conditional. Producers open talks by asking for 60 to 80% of their production cost to sell streaming rights. What they often receive instead is a base price closer to 40%, with additional payouts tied to box office.
Trade analysts say, “If a film performs well theatrically, the final price rises in slabs – 5-10% at a time for all languages.”
For context, satellite television rights, which were once the backbone of nontheatrical revenue, now fetch barely 10% of a film’s budget.
Southern films' pan-India dreams come to naught
8:43 AM
Hindi-dubbed titles’ share of overall box office collection plunged to 7.1% in 2025 from 31.2% in 2024 on formulaic content
Rajesh N Naidu (THE ECONOMIC TIMES; January 20, 2026)
Is the notion of a southern India film that can draw moviegoers across the country now losing its sheen? Yes, if one goes by the growing frequency of failures of such productions aimed at pan-India audiences.
According to a study by media and entertainment research firm Ormax Media, the share of box office collections of southern films dubbed in Hindi-as a percentage of total box office collections of Hindi films-plummeted close to 7.1% in 2025 from 31.2% in 2024.
"There is a glaring lack of universal ideas in stories of southern films aimed at pan-India audiences," said Hindi scriptwriter Jaidev Hemmady. "These films follow a formulaic approach. It is only when a film is rooted in its culture, there emerges universal elements which cut across geographies. Recent southern films such as The RajaSaab, Coolie, and Thug Life among others reflect these concerns."
He said "recent pan-India southern films lacked conviction and honesty in their storytelling."
In 2025, films such as Game Changer, Coolie, Thug Life, Vrusshabha, Vidaamuyarchi, Retro, L2: Empuraan, and HIT: The Third Case, which targeted theatregoers across India, performed poorly at the box office. Even the recent pan-India offering, The Raja Saab, failed at the box office. This follows films such as Pushpa 2: The Rule, Hanu-Man, and Kalki 2898 AD boosting the share of dubbed southern films in 2024.
"In recent years, the idea of a pan-India southern film has been reduced to mere pan-India casting," explained producer Ameya Naik. "By merely casting leading artists across geographies does not make a film pan-India. Such films may get funding. But focusing more on casting artists across regions than on rooted stories is a recipe for failure."
Film trade analysts believe that audiences have been prompt in investing their time and money in well-crafted movies thanks to their reliance more on word-of-mouth recommendations of close friends and family.
"Today, audiences plan the number of visits to theatres given the high cost," said Girish Johar, film producer and industry expert. "In 2025, a good number of Hindi and Hollywood films attracted high audience interest thanks to superior storytelling in these films. One must note that southern films which did not work beyond their home states also underperformed in their home states, indicating that they failed because of bad scripts."
Stars aligning for a reel good 2026 in Bollywood
9:04 AM
A slate of Hindi, regional and Hollywood films lined up for release may help sustain 2025’s box office momentum
Rajesh N Naidu (THE ECONOMIC TIMES; January 8, 2026)
Mumbai: Bollywood's getting ready for a blockbuster year. Shah Rukh Khan, Salman Khan, Aamir Khan, Ajay Devgn, Sunny Deol, Ranbir Kapoor all have releases lined up, in what's going to be the most superstar-heavy lineup of films since before the pandemic. A broad range of big-budget Hindi titles are scheduled to hit theatres, complemented by a strong slate of regional movies and Hollywood offerings.
Down south, Rajnikanth, Vijay, Yash, Prabhas, and Kamal Haasan have movies coming up, apart from which Mammootty and Mohanlal will be seen together in a movie (Patriot) for the first time in 17 years.
Producers, distributors, and trade analysts are predicting a record haul, extending the buoyant momentum after a reassuring 2025. Net box office receipts may surge 25-30%, reaching Rs. 14,052 crore to Rs. 14,614 crore in 2026, from Rs. 11,242 crore last year, going by some of the more conservative estimates.
"2026 could be the year of highest box office collection for the Indian film industry," said Vikram Malhotra, founder and CEO, Abundantia Entertainment. "Beyond the conventional big-star films, 2026 will be about films which will connect deeply with audiences. I see sleeper hits become monsters at the box office. In addition, genre experiments will find takers."
A key reason for the industry optimism is the wide array of movies lined up this year. These include Ramayana, Love & War, Lahore 1947, King, Battle Of Galwan, Drishyam 3, Dhurandhar 2 and Border 2. Highly anticipated regional films include Jailer 2, Jana Nayagan, Toxic. Hollywood films such as The Odyssey, Dune: Part Three, Moana, Avengers: Doomsday, and Spider-Man: Brand New Day are also expected to boost box office receipts.
"Even by conservative estimates, the Indian box office collection may grow at least in the range of 25-30% in 2026 compared to 2025 because of diverse offerings across Hindi, regional and Hollywood," said Girish Johar, film producer and industry expert.
Big Year Ahead
The number of superstar releases is another reason for the optimism. "2026 is indeed a big year," said Navin Shah, joint MD, EMC Solutions Worldwide, a leading company in branded entertainment. "It is important to note that most superstars such as Ranbir Kapoor, Shah Rukh Khan, Salman Khan, Aamir Khan, and Sunny Deol have either one or two releases in a single year. This is happening after a long time."
Trade analysts predict the share of Hindi films in net box office collection to climb to 45-50% this year, from a historical average of 35-40%. Premium ticket pricing will also drive growth.
"There is at least one notable film which is either VFX-driven spectacle or has a big superstar in every quarter of 2026," said Shaaminder Malik, film distributor and trade analyst. "This provides room for premium ticket pricing, especially for formats such as IMAX and 4DX, thereby boosting total box office collection."
Growing Gen Z attendance at movie theatres is also boosting industry confidence, said producers. "Apart from a fantastic lineup, a big positive for the industry is the theatre attendance of Gen Z audience, which increased by 25% in 2025. This trend is likely to continue in 2026," said Sunir Kheterpal, producer, Athena E&M.
OTT craze grows, but film lovers can't stay away from theatres
9:47 AM
Streaming platforms’ impact on footfalls in theatres hasn’t been severe, finds a report
Rajesh N Naidu (THE ECONOMIC TIMES; November 21, 2025)
Mumbai: Despite the growing perception of theatres losing viewers to streaming platforms, studies and recent box-office collections of several Hollywood, as well as non-English, mid-sized, and a few big-budget Hindi films showed audience interest in watching films in theatres has far from ebbed and instead remains intact.
In its latest study, titled Venn It Happens: SVOD & Theatrical audience intersection, media and entertainment research firm Ormax Media said the audience base watching content only on streaming platforms and who do not visit theatres is at 81 million. In comparison, those watching films solely in theatres and not having any access to a streaming platform service is 76 million, indicating limited impact of the increasing consumption of content on streaming platforms on theatre footfalls.
“The data in our report highlights that the impact of streaming platforms on theatrical footfalls is far less severe than commonly believed, significantly weakening the 'OTT killed theatrical' narrative,” said Sanket Kulkarni, head, business development (theatrical) at Ormax Media. “The data suggests that both ecosystems have sizeable exclusive audiences, and that the extent of cannibalisztion is far smaller than popularly assumed.”
During the pandemic, when theatres were shut, audiences latched onto streaming platforms to satiate their hunger for entertainment. Over the years, streamers have been successful in gaining a relatively loyal subscriber base, evident in their subscriber growth, financials, and market share.
According to Ormax Media, the total subscriber base of India’s streaming platform industry, currently at 601 million, is expanding at 10% annually. This amounts to 41.1% of India’s population, indicating the growing acceptance of streamers as a preferred mode of entertainment.
“I don't think streamers have killed cinema in any way,” said Rajesh R Nair, the producer of Hindi films such as Kaminey and Adipurush. “Cinema is killing cinema by not giving out the right content to audiences. This is more pertinent in the case of Hindi films. Audiences are quite happy with films in non-Hindi languages,” he said.
“The simplest example is the noteworthy performance of the Gujarati film Laalo - Krishna Sada Sahaayate, which collected more than Rs. 50 crore at the box office. This performance shows that audiences are open to coming to theatres provided the makers give them a proper entertainment deal,” he added.
The all-India box office collection during January-October 2025 is at Rs11,077 crore. This marks a 24% rise from a year earlier, reflecting sustained audience interest to visit theatres.
Recently, Ajay Bijli, managing director of PVR Inox, India’s largest multiplex operator, told ET that theatrical and streaming entertainment will co-exist without one canonicalizing the other.
“It is a business of interdependence today. Films which do well in theatres when released on streamers also find audiences. This saves promotion and advertising costs of streamers required to create awareness around films,” said Girish Johar, producer and film business expert. “Also, streamers are viewing theatres as an additional source of revenues by releasing their originals in theatres. Besides, cinema is a community experience which can never compensate for the individual experience of streamers. Both will co-exist and benefit from each other’s strengths.”
Diwali films fail to light up box office; Thamma, Ek Deewane Ki Deewaniyat's collections fall 14-25% in first two days
8:11 AM
Rajesh N Naidu (THE ECONOMIC TIMES; October 24, 2025)
Bollywood's Diwali releases, Thamma and Ek Deewane Ki Deewaniyat, have shown underwhelming performance in the past two days after a promising opening on Tuesday.
These films lack elements paramount for big festival entertainers, producers, distributors and trade analysts told ET as their collections have dropped 14-25% compared to the first-day performance.
"This year's Diwali releases seem to have missed the fireworks. Despite the advantage of the festive window, both new titles opened with promise but failed to sustain momentum through midweek," said Suniel Wadhwa, cofounder and director at film production and distribution firm Karmic Films.
"This is not a good sign," he said. "Word-of-mouth communications for both films have been patchy, and early corrections in show scheduling reflect that audiences are becoming more selective and content-conscious."
According to box office research firm Sacnilk, collection of horror-comedy Thamma, which is part of Maddock Horror Comedy Universe (MHCU), dropped to Rs. 18.6 crore on the second day of its release from Rs. 24 crore on its release day, amounting to a drop of 22.5%. Similarly, the collection of Ek Deewane Ki Deewaniyat, a romantic film, dropped to Rs. 7.75 crore on the second day from Rs. 9 crore on its release day, showing a fall of close to 14%.
Both films were released on Tuesday. Historically, Diwali releases are considered the most profitable and mood-setting period for the next year in the Hindi film industry. It is estimated that Diwali releases contribute 10-25% to the total Hindi yearly box-office collection. This is a noteworthy contribution considering the short holiday period in a Diwali week.
Last year, Diwali releases Singham Again and Bhool Bhulaiyaa 3 together earned a collection of Rs. 653 crore in India itself. Both films contributed close to 14% to the total Hindi box office in 2024.
Producers are of the view that genres of this year's Diwali releases did not go well with the festive spirit.
"A Diwali period warrants a joyful, big, grand-scale, family entertainers. The genres of these two films did not meet up these expectations, it seems," said Girish Johar, producer and film business expert.
Bollywood hits the rewind button, turning the lens on its legends
9:40 AM
Artistes’ popularity, lower costs make the genre promising bet for producers
Rajesh N Naidu (THE ECONOMIC TIMES; October 6, 2025)
Mumbai: Producers are turning to biopics on celebrated film personalities, drawn by their emotional depth, lower marketing costs, safer returns and audiences' growing fondness for real, inspiring stories from the world of cinema, writers and trade insiders told ET.
Over the next two years, Bollywood producers are set to release a wave of biopics on film legends such as Dadasaheb Phalke, Meena Kumari, Kishore Kumar, Parveen Babi, Madhubala and Ilaiyaraaja, as the industry increasingly turns the camera inward amid a broader boom in biographical films across politics, history, science, sports and mythology.
"These biopics have an advantage. Largely, audiences are inquisitive about the personal lives of their favourite film artists," said Girish Johar, producer and film business expert. "But for those who are not admirers or fans of these artists, the merit of these biopics will be tested only on how their stories are told," he added.
A key concern among directors and writers about biopics on film artists is the authenticity of their portrayal, a nuance that many past films failed to capture.
"I am keen on watching a biopic about the actress Meena Kumari given her body of work, personality and the enigma around her. But a key question remains: Will the film on Meena Kumari deal with the critical aspects of her life or just one prominent aspect of her life?," said veteran writer-director Nilaskhi Sengupta. "Ultimately, it is the authentic portrayal of such artists which will decide how well they will be received," she added.
In recent years, creative works based on the film industry and artists have received high critical acclaim. In India, the web series Jubilee, which showed the 1940s era of the Hindi film industry received favourable response from the audience.
Lastly, costs also play a role in this trend. "Indian audiences have an immediate connection with biopics on film artists. For producers, who are under-confident in backing original stories due to polarized responses to films, a biopic on a film artist reduces at least the marketing and promotion costs," said Ameya Naik, founder of Fantasy Films, an event management company.
Franchise flicks lose their shine as big bucks bounce back small
10:23 AM
High budget film series and sequels are struggling to generate buzz and recover costs
Rajesh N Naidu (THE ECONOMIC TIMES; October 3, 2025)
Mumbai: Franchise films and sequels, once billed as sure-shot insurance against fickle audiences and shrinking theatre turnouts, are increasingly backfiring in India, with many high-budget releases struggling to generate buzz and failing to recover their massive investments.
In the first nine months of 2025, at least 10 big-ticket franchise films and sequels hit theatres, but most stumbled at the box office.
Among the biggest disappointments were Jolly LLB 3, Baaghi 4, War 2, Dhadak 2, Son Of Sardaar 2 and Housefull 5. War 2, a part of Yash Raj Films' ambitious Spy Universe, managed collections of just Rs 236.55 crore in India against a production budget estimated between Rs 300-400 crore, according to box office tracker Sacnilk.
Industry experts say the problem is that Bollywood builds its franchises as forced extensions rather than carefully thought-out universes.
"Hindi franchise films are not planned organically like Cinematic Universe films in the West. These films are made as an 'afterthought'," said scriptwriter Sudeep Nigam, known for the mini-series The Indrani Mukerjea Story: Buried Truth. Nigam gave an example of the recent horror films. "I don't understand the connection between Shaitaan (2024) and Maa (2025). Shaitaan is a film about black magic. And Maa is a demon in a forest. Can these films belong to a universe because they share a theme?" he explained.
In the West, franchise films are planned well in advance and connected through consistent characters and narratives.
For instance, Marvel Studios planned for two years before it released its first Marvel Cinematic Universe film Iron Man in 2008. To date, the studio has released 33 films with careful planning in terms of budgets ($130-300 million range) and timeline (in six phases).
Lack of connection in stories between the original and the sequel has also added to the failure, especially of recent sequels and franchise extensions.
"Sequels must have plots which take stories of original films ahead. But this is not observed in recent sequels. These films are made just to cash in on the brand value built by original films. It is just weak writing," said Girish Johar, producer and film business expert.
In this context, scriptwriter Nigam cited an example of the Jolly LLB film series.
"The first two Jolly LLB films worked. Then, the idea of bringing together both heroes in a film sounded viable to its makers. But did the makers have a proper plot to justify their presence and create a proper franchise film?" Nigam explained.
After the pandemic, the box office outcome of films across geographies has become more unpredictable than in the pre-pandemic period, as films are either accepted wholeheartedly or shunned completely.
The days are gone when a film would do average business and break even. In this context, large production houses have been focusing on franchise films or sequels as they have an established audience base.
"As regards franchise films, there is too much reliance on the 'stardom' of stars rather than creating 'characters' which utilize their stardom, talent and add emotional depth to these films. Today, the story is a film's star, which makers are not fully recognizing yet," said Varun Kapoor, producer and founder of Brooken Reels Production, a film production company.
Trade analysts pointed out the poor performance of War 2 to its makers' excessive focus on the stardom of the film's stars. They noted that in the past six months at least fifty new franchise films and sequels have been announced in the industry. A few of these are Border 2, No Entry 2 and Awarapan 2.
Free movie ticket offer turning into a flop show
8:33 AM
‘Buy one get one free’ plans on opening weekend itself being seen as a tactic by producers to push bad films, say experts
Rajesh N Naidu (THE ECONOMIC TIMES; September 15, 2025)
Mumbai: Increasing frequency of introducing 'buy one get one' (BOGO) offer on movie tickets, either in the opening weekend or on the opening day of a film's release rather than much later is proving to be counterproductive for producers as audiences are perceiving this tactic as the last resort to deal with low audience interest and boost collections of bad films, said film trade analysts, producers and distributors.
Recently, the makers of Hindi films such as Tanvi The Great, Baaghi 4, Ek Chatur Naar, and Heer Express announced BOGO offers on the opening day itself.
"BOGO ticket offers either on the opening day, or weekend have become a new trend in recent months," said Shaaminder Malik, a film distributor and trade analyst. "Earlier, makers would wait for at least two weeks and introduce BOGO offers on tickets to sustain momentum in collections of films which have already clicked with audiences," he added.
BOGO offer on film tickets first began with the rationale of making incremental collections on films which have already worked with audiences. Producers could afford to give BOGO offers of such films since the box office collections had already surpassed their estimates in the initial weeks. They would, therefore, launch a BOGO offer much after a film is released in theatres.
For instance, the makers of the film Gadar 2, which received a tremendous response from audiences, introduced a BOGO offer only in the third week of its release. For such films, a BOGO offer helps to boost ticket sales by 10-20%, said trade analysts. It also allows makers of mid-and-small-sized films to attract audiences to theatres. A pitfall of this practice is producers lose money when films fail to provide high incremental collections post the offer as they pay for the free tickets. Exhibitors' share in collections, however, remains intact.
"The general understanding of BOGO offers is that one gets a ticket free on buying a ticket. But this is a marketing thing. In real terms, one gets a discount of a certain amount on a ticket which is capped and borne by a producer," explained Suniel Wadhwa, co-founder and director at Karmic Films.
"These campaigns are tactical marketing spending to build momentum in footfalls. But they can never be a substitute for organic success of films."
Largely, producers have not gained from these marketing initiatives if one considers the performance of recent films. Even after the BOGO offer, Baaghi 4, which released on September 5, collected Rs. 47.5 crore compared to Rs. 72 crore by the English film, The Conjuring: Last Rites, which released on the same date.
"BOGO offers are so excessively used that they have a negative effect. Today, audiences interpret a BOGO offer as an indication that a film is not good. So, it is backfiring," said Girish Johar, producer and film business expert.
Though producers are resorting to BOGO offers, besides getting high-value deals from streamers and satellite channels, these entities have become stricter in buying films at irrational prices from producers.
Big-budget releases set stage for showdown at box office
10:12 AM
Hindi–South face-offs to test recovery; Southern films may cut Bollywood earnings by 10–15%
Rajesh N Naidu (THE ECONOMIC TIMES; July 28, 2025)
Mumbai: A clash for box office share between big-budget Hindi and southern films in the next few months will put the theatrical revival of Bollywood to the test, say producers and trade analysts.
Three big southern films - Coolie (Tamil), Kantara: Chapter 1 (Kannada) and The Raja Saab (Telugu)-are scheduled for release in the second half of 2025. Their release dates clash directly with Bollywood movies War 2, Ikkis, Sunny Sanskari Ki Tulsi Kumari and Dhurandhar.
With each of these films having an estimated budget of Rs. 150-400 crore, the stakes are high.
The second half of 2025 began on a promising note for Bollywood with the unexpected success of the mid-budget Saiyaara, which has raked in Rs. 175 crore in box-office collections since its July 18 release. But the market dynamics will be different for the upcoming releases. This is the first time since the pandemic when the release dates of big southern films are clashing with Hindi films of similar scale.
"Post-pandemic, the lines between regional and Hindi films have blurred," said producer and film business expert Girish Johar. "Today, audiences want the best content. So, if there is a formidable southern film aimed at a pan-India audience ... it does impact the box office potential of the competing Hindi film."
Bollywood producers often avoid clashes with southern films, as loyal audiences of southern films shun Hindi movies to watch their favourite stars on screen. A blockbuster pan-India film form the south could reduce the box office potential of a competing Hindi film by 10-20%, according to trade experts.
"When tentpole films clash, the impact at the box office is far deeper than just opening-day collections," said Suniel Wadhwa, co-founder and director of Karmic Films. "Screens are shared. Show timings are compromised. In north India alone, a high-stakes clash can mean a Rs. 20-40 crore loss in revenues for each film."
Revenue from digital, satellite and overseas rights will also take a hit, say distributors. They suggest a solo release of a big-budget Hindi or southern film as a practical solution.
"A well-timed solo release can improve legs at the box office, optimize holdover weeks and elevate a film from a Rs. 300 crore hit to a Rs. 500 crore blockbuster," said Wadhwa.
"Clashes are always bad for business," said Rajesh R Nair, the producer of Hindi films such as Kaminey and Adipurush. Southern films are tracking well, especially Kantara: Chapter 1, one of the most awaited sequels, he said. He also expects strong competition to the upcoming Bollywood movies from Rajinikanth's Coolie and the Prabhas-starrer horror-comedy: The Raja Saab.
Some trade analysts believe that the timing of these releases may work in their favour, as these will be released on public holidays when footfalls are usually high in theatres.
"Also, the genres of these competing films are different. These films will be accommodated," said Girish Wankhede, a movie trade analyst. But in the long run, he said "only the content of these films will work".
While the success of Saiyaara was encouraging, theatres also recorded noteworthy contributions from Hollywood films such as Superman, Jurassic World: Rebirth and The Fantastic Four: First Steps. Apart from Indian films, Hollywood movies such as Zootopia 2 and Avatar: Fire And Ash are also scheduled for release in the second half of 2025.
According to media and entertainment research firm Ormax Media, the second half of 2025 is likely to contribute 52% to the all-India box office revenue of Rs. 13,500 crore estimated for 2025.
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