An opening collection of a little over Rs. 100 crore is the dream of many filmmakers. Yash’s Toxic: A Fairy Tale for Grown-ups achieved that across its six languages when it released on August 26. But things can change quickly. And they did. Director Geetu Mohandas’s action fare, which was panned widely by critics, reportedly closed its extended weekend tally at just over Rs 200 crore.

The fall on the second day itself was by 50-60 per cent, revealed exhibitor Raj Bansal. “We didn’t expect the fall to be so huge. We were expecting the numbers to rise on Raksha Bandhan [August 28], but that didn’t happen. I think Monday’s figures of the Hindi version will come down to Rs 5 crore. Toxic will be one of the biggest flops of recent times,” Bansal told mid-day.

Since Yash announced the action film — also starring Nayanthara and Kiara Advani — in 2023, it became a highly anticipated project. According to exhibitor Akshaye Rathi, the leading man has delivered on his stardom.

Rathi shared, “Despite the teaser and songs not earning appreciation, the film put together a huge [first-day] figure. That shows Yash’s stardom. After the audience’s reactions came out, the [low] numbers had nothing to with his stardom. The content didn’t work.”

Even as he dismissed the rumours that the makers indulged in corporate booking, Rathi feels Toxic will wrap up its run as early as the end of this week. “I don’t see it continuing for long after this week,” he said.

Back in the ’90s, buying a film ticket felt less like a transaction and more like a ritual. It meant stepping out, taking time out of a busy day, and heading to a cinema hall where the queue at the ticket counter was part of the experience. Unlike now, when a few taps on an app secure a seat in seconds, cinephiles then waited for hours, sometimes sending someone ahead to hold their place, all for the promise of a seat. Tickets were often flimsy and poorly printed, still carried weight. They were folded into wallets, tucked into books, saved after movie dates as quiet reminders of moments that lingered. Today, that ritual has quietly disappeared. While some still prefer buying tickets offline, exhibitors say the shift is clear: online booking has become the default for most moviegoers.

Exhibitors say that when demand spikes, behaviour becomes more predictable. For big releases, 80-90% of first-week ticket sales happen online. This is no longer limited to metro cities. Moviegoers in Tier II and Tier III cities are also booking tickets online. So, who is buying offline? Exhibitors say it is not a fixed demographic. Moviegoing behaviour is situational. Moviegoers are more likely to walk in when they are confident tickets will be available.

As Raj Bansal puts it, “The line at the ticket counter hasn’t disappeared. It is just shorter and more situational. Many senior citizens who are not tech-savvy still prefer offline booking, although their tickets are often booked online by family members.”

Moviegoers treat online booking as the default, but switch to the counter when they are confident they will not miss the show. Sonali Gupta, a moviegoer in her 20s who works in the hospitality sector, says, “For me, online booking is standard. We don’t mind paying the convenience fee anymore, as we are used to paying it everywhere. But when we are a group of seven or eight, we prefer buying tickets at the counter and saving that money for food and beverages. The same applies to family outings. Still, it mostly comes down to individual preference.”

Pinaki Mishra, who works in a cinema chain and is in his 30s, says, “Whether I book a ticket online or not, I always check show availability online first. If the theatre is mostly empty and I am confident I will get a ticket at the last minute, I prefer to buy it at the counter.”

Uma Chaudhary, who works in a gallery and is in her 50s, says, “Sometimes, if there are not many tickets sold, I book online because I worry the show might get cancelled. I don’t want to risk making the trip for nothing.”

There was a time when convenience fees were a deterrent. Today, that resistance has largely faded, and moviegoers increasingly prefer booking online. Exhibitor Sanjeev Kumar Bijli says, “We have the data to prove it. Around 65-70% of our sales are now online, through our app, website or aggregators. The shift is clear.”

Exhibitor Raj Bansal says, “However, later in a film’s run, say after three weeks, we see more walk-ins.”

Exhibitor Bhuvanesh Mendiratta notes that online booking is also driven by deals and offers on food, beverages and tickets.

Last year, after the Army’s press conference on Operation Sindoor, producers rushed to register film titles on the operation, prompting industry bodies to urge applicants to stop registering variations. The producers, however, did not stop.

Almost a year on, more than 150 titles related to Operation Sindoor are still pending.

Abhay Sinha, president of the Indian Motion Picture Producers’ Association (IMPPA), shares that no producer has yet been allotted the title. He explains, “We have over 150 applications for ‘Operation Sindoor’ and its variations, but none has been approved. As the volume of applications for a single title was so high, we decided to defer a decision. There are also five to seven film title applications for the Pahalgam attack.”

Studios that have announced projects on the operation have continued to follow up with the body, he said.

A decision is expected at a meeting next week, where titles will be allotted, which is on a first-come, first-served basis. Trade analysts and industry insiders say they are not aware of many films actually going into production.

Industry insiders say titles are snapped up after major incidents, but few projects move beyond the announcement stage. Despite the rush for registration of film titles, only two films on Operation Sindoor have been formally announced.

Industry insiders say that registering titles is like a gold rush after an important incident, but what actually gets made is only a small fraction of what is registered.

T P Aggarwal, former IMPPA president, explains, “Our producers sometimes want to take advantage of publicity. They register titles only for publicity. If a big producer registers a title, it usually means they will make a film, but most of the time, after an incident, small producers from regional industries rush to register titles without intending to make a film. Sometimes they sell these to bigger banners for credit.”

Veteran trade analyst Raj Bansal adds, “Most producers just take advantage of a situation and, in a rush, register titles, but a film never actually gets made. They announce the film, and once the discussion dies down, it goes into cold storage. What gets made is a fraction of the titles registered.”

Recently, Salman Khan’s film Battle Of Galwan underwent a title change. After the Galwan attack, producers had rushed to register that title as well.

T P Aggarwal shares, “Of course, if the Army says you have to change the title, then you have to. We should not have registered a title like ‘Galwan’ in the first place. Some time back, we were also discussing that for films based on operations or sensitive geopolitical issues, such titles should not be registered. I don’t know why it was registered.”

Abhay Sinha adds, “Yes, ‘Battle Of Galwan’ was given another title, Maatrubhumi: May War Rest In Peace. But as we do not have any orders not to give titles on operations, we will proceed with our system and allot titles accordingly.”

A year later, as per official announcements, only two films are being made. Last month, filmmaker Vivek Agnihotri announced that he would be making a film on Operation Sindoor with T-Series, based on Lt Gen KJS ‘Tiny’ Dhillon’s (retd.) book Operation Sindoor: The Untold Story of India’s Deep Strikes Inside Pakistan.

He wrote on X, “Rooted in the aftermath of the Pahalgam terror attack and backed by extensive, ground-level research in collaboration with multiple wings of the Indian Armed Forces, this is a story drawn from reality – not to create noise, but to confront it: with facts, with clarity, and the magic of cinema.”

A source shares, “There are rumours that Varun Dhawan has been contacted to play a role in this film.”

A source associated with The Terror Report shares, “The Terror Report , which was announced as a film on major terror attacks in India spanning from 1998 to 2025, was originally only on the Pahalgam attack. However, to avoid a clash with the film based on Lt. Gen. ‘Tiny’ Dhillon’s book the script is being modified. At present, the film is at the scripting stage.”

Trade analyst Girish Johar says, "From industry buzz, I am not aware of any films being released in next couple of months. We have only heard about a couple of films which are at script stage."

The tale of Dhurandhar continues, as does its rampage at the box office. Dhurandhar The Revenge, the sequel to Ranveer Singh’s 2025 action drama, is projected to have earned over Rs 72 crore in its Hindi version alone on the opening day, beating Jawan (2023) to become the biggest opener in Hindi cinema. Trade analysts believe the box-office run of Aditya Dhar’s directorial venture will surpass the three-week window it has before Akshay Kumar’s Bhooth Bangla arrives on April 10.

According to Rajasthan-based exhibitor Raj Bansal, the makers of the horror comedy should defer its release. “I am sure they will do it. The prices at which Dhurandhar 2 tickets are being sold, it will drain out the entertainment budget for a family [for that month],” Bansal told mid-day.

He added that director Priyadarshan’s film will have another disadvantage. “There will be an immediate comparison with Dhurandhar 2.”

Even as fans lap up the sequel, Bansal had a point to make. “At INOX, the ticket rate is Rs 1750! That is unheard of in Jaipur. There will be excitement among the audience through the weekend. But from Monday, they will have to reduce the ticket price.”

This Christmas, romance arrived on the big screen in a quintessential Dharma-esque manner, but audiences have refused to reciprocate love for the story. The Kartik Aaryan-Ananya Panday-starrer Tu Meri Main Tera Main Tera Tu Meri collected only Rs 8.46 crore on opening day, with a four-day total of around Rs 28 crore.

Bihar-based exhibitor Vishek Chauhan isn’t surprised. He told mid-day, “I don’t think the film had any chance from day one. It looks like a stale product, which people have seen umpteen times throughout the previous decade. It is basically the genre that came into being with Ranbir Kapoor and Deepika Padukone-starrer Yeh Jawaani Hai Deewani (2013). And then Ranbir milked it to great effect with many films. He even managed to get some kind of success with Tu Jhoothi Main Makkaar (2023). The audience has seen enough of this genre. Theatrical entertainment works on the basic principle of the ability of the content to create the fear of missing out (FOMO). If your content is not able to do that, the audience will not come to the theatres. If you feel that you will make anything random, then don’t expect numbers.”

Chauhan added lessons for Karan Johar, the co-producer of the film: “Two of his productions this year — Tu Meri Main Tera and Sunny Sanskari Ki Tulsi Kumari — were stale products. We need intense romantic love stories on the big screen, that’s what people are watching right now. People want dark, intense lovers. No matter how good a film you make, the public will not come to see a romantic comedy. People are saturated with it.”

Timing also worked against the release. Rajasthan-based exhibitor Raj Bansal told mid-day, “The film has terribly low collections so far. The opening day (Dec 25) was low. Then a Friday (Dec 26) drop was natural. But Saturday’s (Dec 27) collections showed that it would trend poorly. The movie got sandwiched between Dhurandhar and Avatar: Fire And Ash, which is doing well at my theatre. Its lifetime looks like around Rs. 40 crore. What the film lacked was hit music. Had even one or two songs worked, the opening would not have been so bad. The movie’s star cast is also not a big draw.”

Two diverse offerings, a mythological spectacle and a romantic comedy, were presented to the audience over the extended four-day weekend. The audience has made its pick known, loud and clear. Rishab Shetty’s Kantara: A Legend Chapter – 1’s Hindi version is poised to end its opening weekend run at over Rs 60 crore, in contrast to Varun Dhawan and Janhvi Kapoor’s Sunny Sanskari Ki Tulsi Kumari, which has reportedly made over Rs 30 crore.

Set to amass a whopping Rs 200 crore by the night of October 5 across languages, the dominance of Shetty’s Kannada feature in the South market is not surprising. Bihar-based exhibitor and trade analyst Vishek Chauhan notes that the mythological drama is ruling the Hindi belt too. “In Karnataka, it’s a blockbuster, and [in other markets too], the film is making big money. It’s a super hit in Hindi,” he tells mid-day.

Given Kantara’s (2022) phenomenal run in the Hindi belt, the trade expected the second instalment to open bigger. However, Chauhan considers that an unrealistic ask. He reasons, “The trade thought that since the original broke out like the KGF and Pushpa franchises, the second part would follow the same trajectory and open at Rs. 30-40 crore. But Kantara doesn’t have any commercial hooks, like songs or romance. To expect it to open like a conventional blockbuster is [wrong]. The 2022 film’s [Hindi version] opened at Rs 2-3 crore, and this one did at Rs 17 crore. So, it has done six times the first part’s opening day.”

Rajasthan-based exhibitor Raj Bansal says while the festival release benefitted both the films, Sunny Sanskari ki Tulsi Kumari’s opening was compromised due to the clash. “I believe Sunny Sanskari… earned around 25 per cent less than it should have,” Bansal tells mid-day, before pointing out that Shashank Khaitan’s directorial venture has little going for it.

“There is no novelty in the story; it’s routine feel-good cinema. We have about a dozen of such stories coming. So, the audience didn’t get excited about the film. Varun’s last few films haven’t fared well. That also affects a release’s opening day collection.”

With the collections set to take a drop on Monday, trade expects Sunny Sanskari… to wrap up with a lifetime business of Rs. 60-70 crore. Chauhan adds, “This is concerning for Varun because this will be another flop for him. He needs to introspect because [rom-coms] were his turf.”

In June, Aamir Khan had announced that Sitaare Zameen Par would be a theatrical-only offering, categorically denying taking it to YouTube after its big-screen run (Amitji backed me to take the film only to theatres, June 7). But after the dramedy has collected Rs 167 crore in its six weeks of release, the superstar appears to have done a volte-face. On July 29, he announced that beginning August 1, the R S Prasanna-directed venture would be available on YouTube for Rs 100 per view.

The decision hasn’t gone down well with exhibitors, especially since the film is running in many theatres and a YouTube release would bring a premature end to its business.

Rajasthan-based exhibitor Raj Bansal tells mid-day, “The Multiplex Association of India honoured Aamir for his [theatres-only] stand. Now, we are disappointed with this decision. By bringing the film on YouTube less than eight weeks after release, he is going back on what he had promised. The film’s theatrical run hasn’t ended yet. It’s running in my theatre in Jaipur. Aamir’s credibility has been put at stake. No one will trust him next time,” he says.

In bringing Sitaare Zameen Par to his own YouTube channel, Khan is showing that there can be an alternative to the streaming giants. Whether the film industry adopts this new model will depend on the superstar’s success with his plan.

But exhibitor Akkshay Rathie, while appreciating the business move, believes the actor has made one misstep. “Strategically, it is the right decision. With digital penetration at its peak, now is a good time to experiment with transactional video-on-demand. But [he should have] kept a bigger window — an eight-week gap — between the theatrical and YouTube release,” assesses Rathie.

Bansal believes the model will only work among the urban demographic, which has disposable income. He decodes, “One viewing is for R100. If I [subscribe] to Netflix [at a competitive price], I will have a month to watch a wider variety of programmes.”

He believes Khan’s decision was also motivated by the movie’s box-office performance. “Maybe, the film didn’t perform according to his hopes. So, he thought of taking this route.”

Aamir Khan’s star is finally shining bright at the box office. The actor’s latest release Sitaare Zameen Par has registered an impressive opening weekend collection of over Rs 57 crore. While the  R S Prasanna-directed venture has spread cheer among exhibitors, trade analysts also note that the success is a marker of two crucial things — first, that Khan may have pulled off a wise move by skipping the post-theatrical OTT run. More importantly, the feel-good movie’s strong run can be seen as a revival of the genre that almost disappeared from the big screen in the post-pandemic market.

Exhibitor Akshaye Rathi says, “[In the past few years], we had Pathaan [2023], Jawan [2023], Gadar 2: The Katha Continues [2023], and Pushpa kind of films [becoming hits]. The notion was that people would come to theatres for these mass-oriented action films. I think this is the first multiplex hit since the pandemic. It’s good to see the genre, which targets urban India, being revived.”

Rajasthan-based exhibitor Raj Bansal shares that women and families are driving the footfall in his Jaipur multiplex. Noting that Sunday’s collection of Rs. 26 crore was almost 2.5 times the opening day’s figure of Rs 10.5 crore, Bansal is optimistic of the film’s growth.

“From now, Aamir’s decision to not [stream] the film on OTT will play a role. The first week’s collection should close at about Rs. 80 crore.”

Trade analyst Girish Johar adds that the movie has found takers in the international market too. “Over time, it could touch the Rs 100 crore mark in the domestic market.”

Vishek Chauhan, however, states that its success doesn’t indicate a change. “It does not penetrate the rural market. This is not the kind of film people in villages will throng to watch,” he says.

Have you seen it? What’s the opening collection? Those two questions are likely to dominate most conversations tomorrow as Aamir Khan’s Sitaare Zameen Par hits the screens. This, not just because it’s the superstar’s release after almost three years, but also because it will be the first Bollywood film to not have an OTT release post its theatrical run. Trade sources say the RS Prasanna-directed venture will open in the range of Rs 11-12 crore.

“Its first-day figures will be around Rs 11-12 crore. Laal Singh Chaddha too had opened at Rs 11 crore,” says a trade source.

One would have expected a bigger opening for Khan’s film. But exhibitor Raj Bansal argues that such an opening is not concerning, given the film’s genre. Sitaare... tells the story of an arrogant basketball coach, whose perspective on life is changed by a group of neuro-divergent kids.

“It’s a tricky subject to handle. Also, it’s not for the masses. How Aamir has handled the subject [will determine] whether families come to theatres. An Aamir film should have opened bigger, but his last two films didn’t fare well at the box office. That’s a deterrent. If the film is appreciated, it can jump to Rs. 16-18 crore collections on day two, and take a jump of 40 per cent on Sunday,” he says.

Sources reveal that Khan has told theatres to not play any show before 11 am tomorrow, and have limited shows before 6 pm. Freelance journalist and trade expert Fenil Seta explains, “By having limited showcasing until 6 pm, all shows will enjoy a good occupancy. After that, the footfall will anyway increase.”

Mumbai: In a set back for the Rajkummar Rao starrer Bombay High Court on Friday stayed the forthcoming release of a court room drama granting interim relief to PVR Inox Ltd which sought the stay claiming violation of a contract for its release in theatres.

PVR moved the HC for a special hearing citing urgency. Through senior counsel Dinyar Madon and advocate Darshan Mehta it said unless the scheduled release is stayed its claim would be rendered infructuous. Madon said the urgency was because Maddock Films Pvt Ltd and others who produced the film had only on a day earlier terminated an Agreement dated 6th May 2025 by which it agreed to release the film “Bhool Chuk Maaf” in PVR theatres in India on 9th May 2025.

Under the agreement Maddock had to also keep a minimum eight weeks hold back from the First Theatrical Release Date in India till the date of release on OTT platforms. He submitted that PVR spent on promotions and also had prior bookings for the May 9 release but now the film was to be release instead on OTT on May 16. Maddock through senior counsel Venkatesh Dhond and advocate Ameet Naik opposed the application for the grant of urgent reliefs.

Dhond first submitted that not only had PVR misconstrued the Agreement, the 8 week restraint clause would kick in only if the film was to be theatrically released.

He said since the producers have now decided not to release the film in theatres, in view of the heightened security presently prevalent across the nation and in particular in the Northern part of the Country, there was nothing to prevent its release on other platforms.

Justice Arif Doctor who heard the matter after applying the law of contract to the facts of the dispute said PVR made had in keeping its end of the obligations, taken steps and incurred costs towards marketing and advertising the release of the film in its theatres and sold tickets and “any such last minute cancellation would also affect (the theatre’s )reputation and goodwill.”

Besides arguments that owner of the film can decide where to release is “also plainly untenable,” as it had no right to breach a concluded Agreement. The HC order made available on Saturday restrained the film’s release and sought a reply from Maddock and film’s owner in two weeks. It will next hear the matter on June 16.

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The makers of Bhool Chuk Maaf have been sued by PVR INOX cinemas. The cinema chain is seeking a “stay on the OTT release and damages of Rs. 60 crore” at the Bombay High Court.

A source says, “The cinema chain has requested the court to stay the OTT release. The film should be released in cinemas first, and then on OTT after eight weeks, as per the initial arrangement.” The court has already heard both the parties – the cinema chain and the producers and will issue its order on Monday. Attempts were made to contact the producers, but there was no response till the time of going to press. 

“PVR INOX has approached the court to set an example against unethical practices,” says an exhibitor, explaining, “If others follow this route of skipping theatrical release last minute, cinemas will have no films to show.”

A source adds, “If the film had been released theatrically, it wouldn’t have been eligible for an OTT release so soon, that’s why they skipped it.

 Veteran exhibitor Raj Bansal says, “The producers should have refrained from bypassing theatres and jumping to OTT.”

Cinemas argue that this is a matter of principle. A cinema business analyst says, “The producers took the OTT route because there was no buzz around the film. It was an easy way out. The government didn’t tell you to shut cinemas. As of now, there is no advisory. If you opt out after giving hope to cinemas for nearly a month with promotions, you must be held accountable.” 

After the trailer for Bhool Chuk Maaf played in cinemas for months, the film took an unexpected turn just two days before its release. Producer Dinesh Vijan’s Maddock Films and Amazon MGM Studios announced that the romantic comedy would bypass theatres and head straight to Prime Video on May 16, citing “heightened security drills across the nation.”

It’s Oscar season, and cinemas are rolling out releases and re-releases of nominated films. Recently, a screening of Conclave sold out, and most of its shows are pulling in audiences. Last year, Anatomy Of A Fall (Best Original Screenplay) also drew large crowds. There was a time when Oscar-nominated films weren’t widely available in India, but that’s changed. Now, these films are available in cinemas, and some are also available on streaming platforms. However, most films released during Oscar week see increased footfalls in cinemas. Exhibitors say that the market for foreign films in India has grown, which is why they are able to secure more foreign films for theatrical releases. We spoke to cinema experts to understand how Oscar season releases work in cinemas.

Girish Johar, producer and cinema business analyst, says, “A major reason these films get the kind of occupancy they do is that movie buffs prefer the big screen over home viewing. Unlike regular Hindi films, where moviegoers often wait for them to arrive on streaming, award-season favourites drive people to theatres.”

Raj Bansal, exhibitor and cinema business expert, agrees, “It goes without saying that films that haven’t released on any platform tend to attract the highest footfalls in cinemas due to the FOMO factor.”

Exhibitors say that the market for foreign films in India has grown, which is why they are able to secure more foreign films for theatrical releases.

Sanjeev Bijli, Executive Director of a cinema chain, says, “Last year, Anatomy Of A Fall and The Zone Of Interest, which were among the top 10 Oscar nominees, were released. This year, two foreign films, Emilia Pérez and I'm Still Here, are set for release. Foreign production houses definitely see India as a growing market. However, sometimes these films get stuck because of censorship. One year, The Favourite got stuck because of censorship and never got released. This year, Anora, a frontrunner for Best Picture, which was to be released in India is facing the same problem and could not get a release date. The Apprentice, which had already been acquired for release in India, also got stuck due to censorship.”

He elaborates, “Distributors are willing to take the risk and release these films in India during the Oscar buzz as it leads to some business. We tried a lot with The Apprentice, as Sebastian Stan has also been nominated in the Best Actor category. But it’s unfortunate that the censor board insisted on cuts. In such cases, the producer or director sometimes refuse to release the film with those cuts because it compromises their narrative and creativity.”

Earlier, these films were not available to Indian audiences. In the last 10-12 years, Oscar-nominated films have become available for theatrical release. The availability of these films has increased, and the audience has become more evolved in their tastes, say exhibitors. Sanjeev Bijli says, “The award season buzz, which kicks off in November with the Golden Globes, SAG Awards, and BAFTAs, has become very newsy. I think access to all that news has fuelled the appetite of Indian moviegoers to watch these films on the big screen.”

Exhibitors say that by and large, most films released and re-released during Oscar season attract audiences from all age groups. This year, films such as The Brutalist, Conclave, and A Complete Unknown are expected to appeal more to an older audience.

Exhibitors say the demand for Oscar-nominated films has grown so significantly that cinemas now schedule screenings in Tier-II and Tier-III cities also, and not just in metros. Yogesh Raizada, Director of a cinema chain, explains, “The response to Oscar-nominated films has grown over the years. When streaming services were not widely available in India, people would go to websites to watch pirated versions of Oscar nominees, so the interest has always been there.”

A senior programmer of a cinema chain adds, “Some of these Oscar-nominated films are available on streaming, but not everyone has subscriptions to five or six streaming platforms. Plus, some platforms have a model of video-on-demand model, where you must pay additional Rs. 200-500 for a film. A movie ticket costs less. So, beyond the two or three films available on widely accessible platforms, there is an audience that eagerly waits for Oscar season releases.”

Three decades ago, Rajkumar Santoshi’s Andaz Apna Apna pulled off a casting coup, bringing two of Hindi cinema’s rising stars Salman Khan and Aamir Khan in a single film. Over the years, the film has achieved cult status and is hailed as one of Indian cinema’s finest comedies. As the film celebrates its 30th anniversary, it is slated for a re-release in cinemas next year.

Veteran exhibitor Raj Bansal, who distributed Andaz Apna Apna through his now 70-year-old distribution company, says, “Whenever people talk about this film, they look at the initial numbers and declare it a flop. I distributed the film, and in my distribution territory Rajasthan, the film was a decent hit. In fact, I paid overflow to the producer – Overflow is the amount paid over the agreed amount when a film performs well. In Jaipur, the film ran for approximately eight weeks, which was huge at that time.”

Bansal explains, “When Andaz Apna Apna was released, the trend was that comedy films performed well in the southern states, Gujarat and Mumbai, while action films were doing better in Delhi and UP. Andaz Apna Apna didn’t perform as expected in UP and Delhi, but the film was never a flop. It was a decent hit at the time of its release.”

The family of the late producer Vinay Sinha says the same. Producer Priti Sinha says, “My brother Amod, who was also the AD on the film, pointed out that because it wasn’t promoted, people started believing the film didn’t perform well.”

Producer Priti Sinha shares, “It makes us really proud that even after 30 years, the film continues to resonate with movie buffs. Some years back, my sister Namrata met Salman, and he suggested re-releasing the film. The film will be re-released in a digitized, restored, and remastered 4K version. We are currently working on the sound, and once it’s complete, we’ll decide on a release date for next year.”

At the box office, two is a crowd, not company. So, what does that make of three films? On August 15, theatres will witness a three-way clash between Stree 2, Khel Khel Mein and Vedaa. Clashes not only eat into each film’s box-office business, but also impact the industry at large.

Trade analyst Taran Adarsh says that Stree 2, Rajkummar Rao and Shraddha Kapoor’s sequel to their 2018 horror comedy, is way ahead of the competition. “Stree’s fan base has multiplied over time. So, Stree 2 will undoubtedly be people’s first choice,” he states.

Adarsh notes that a clash impacts the audience too. “They will have no movies to watch for the next three weeks. Unfortunately, all producers are firm on their release dates, and [are hoping for] high footfall as it’s a four-day weekend. Today, most producers want to cash in on the long weekends. While all three films will fight for screens and shows, Stree 2 has a big advantage as PVR-Inox is also part of its distribution. So, essentially, it will be a clash between the other two.” 

Director Mudassar Aziz’s Khel Khel Mein is a romantic comedy led by Akshay Kumar, Taapsee Pannu and Vaani Kapoor, while John Abraham and Sharvari’s Vedaa is an action fare. While the three offerings belong to distinct genres, what’s surprising is the high demand for the holiday window, considering there are no movies releasing two weeks before and after.

A source says, “This happens when producers don’t expect a long run, owing to their films’ weak content. They just want to make as much money as they can over the long weekend.”   

Exhibitor Raj Bansal hopes that at least one contender will bow out of the race. He says, “In such a situation, the biggest losers are the multiplex chains. Producers want their movies to arrive on long weekends because they think their offering will be the bigger grosser. Hopefully, one of the producers will follow the example of Ajay Devgn, who postponed Auron Mein Kahan Dum Tha’s release.”

Trade analyst Atul Mohan adds that Vikram’s Tamil film Thangalaan and Puri Jagannadh’s Telugu offering Double iSmart may also release on the same date. “These films will draw the audiences in the south, which will reduce the number of shows for the Hindi releases.

With fewer moviegoers heading out to catch the latest releases, several cinemas have reduced the number of daily shows for these films. Industry insiders suggest that while there are multiple theories, the major reason is that many recent movies simply aren’t attracting audiences.

Cinemas say that while they have to work with the content pipeline they have, offerings such as summer festivals, re-release screenings, and anime festivals are receiving a positive response from the audience.

Ajay Bijli, Managing Director of PVR INOX Limited, says, "It is very difficult to predict box-office success just by looking at the pipeline. In March, 'Crew' has done incredible numbers, 'Laapataa Ladies' has done incredible numbers, so we never really know which movie is going to work. The pipeline is what it is. Because of elections, not much is coming until the end of May; however, after May, there is a huge flow of films." There is a lot of focus on scripts, so cinemas are expecting many sleeper hits this year.

Cutting down shows is not the norm. In fact, when a film performs well at the box office, cinemas in the past have added 4am/7am shows to accommodate the audience.

Raj Bansal, a veteran business analyst and exhibitor, says, “Summer is the time when the audience is ready to come for even 11pm shows, but the industry is losing out on these slots. If cinemas are filling empty day slots with older popular content and cutting down shows, then why would they add any night shows? We just need a few good movies to turn around the situation.”

“It’s summer, and losing this box office may affect not just the business of cinemas but also the habit of moviegoing. Even if movies have failed to entertain, there are still enough people coming to cinemas out of habit, boredom, or a desire to get out of the house. Hence, cinemas have also launched movie passes, curated summer specials, and some upcoming releases to bring back the scenario of 10-20 shows again,” says a multiplex source.

“This summer, the box-office isn’t that exciting in terms of the choices that moviegoers have. Last time, we saw it during the COVID period. The summer box office is usually lucrative because exams are over, holidays begin, and in the past, several big-budget films have been released, so the box office is always brimming. But this year, exhibitors are facing a situation where certain screens are being shut,” says Girish Johar, a cinema business analyst.

It could well be the year of Ajay Devgn. After having only one release in Bholaa last year, the superstar has five movies lined up in 2024. Call it a coincidence or what you may, but three of them are set to release in quick succession over one-and-a-half months. While supernatural thriller Shaitaan hits the marquee on March 8, director Amit R Sharma’s sports drama Maidaan follows on Eid in April, before Devgn rounds off the month with the romantic drama, Auron Mein Kahan Dum Tha opposite Tabu. So, will Devgn’s hat-trick of movies affect one another?

Trade analyst Atul Mohan admits it’s a unique situation in the actor’s three-decade career. But he believes two factors work in Devgn’s favour. “Ajay is an intelligent actor and understands commercial cinema well. What works in his favour is that the three movies belong to different genres. Secondly, besides Ajay, we don’t have any big stars’ offerings this year, be it Shah Rukh Khan, Aamir Khan, Salman Khan, Ranbir Kapoor or Ranveer Singh [barring the extended cameo in Singham Again]. So, his films are something to look forward to,” explains Mohan.

Film distributor and multiplex owner Raj Bansal notes that actors are sometimes helpless at the producers’ decision regarding release dates. “No star would want his movies to come in close succession. But Maidaan was being deferred for the past two years, and now, it’s coming in April. A gap of 10-12 weeks between releases is necessary, but having said that, once a film is a hit, we’ll forget everything else.”

While trade analyst Komal Nahata echoes Bansal’s sentiment, he also points out that the scenario will hardly affect an actor of Devgn’s stature, one of the biggest stars of Hindi cinema currently. “Ideally, movies should be spaced out. But while the box-office performance of films may affect a star’s status, the release schedules do not.”

After a busy summer, Devgn will return to the big screen in August with Rohit Shetty’s Singham Again, before ending the year with Raid 2.

Exhibitor Akshaye Rathi reflects, “Surely, 2024 is the year of Ajay Devgn. I’m hoping that at least one movie will move to May or June. What affects every exhibitor is if the fatigue kicks in with the same actor coming up on screen, and in the worst-case scenario, it may result in the audience diminishing. If a superstar’s movie doesn’t do well, it’s a huge opportunity lost for all of us. That said, I’m not skeptical here—if the movies are solid, they will work. I hope all three turn out to be blockbusters.”

It was an eventful run-up to what was being touted as the clash of the year. Fans picked their side, there were long-running negotiations over screen division. And yet, as the big day arrived, Shah Rukh Khan’s Dunki and Prabhas’ Salaar: Part 1—Ceasefire found themselves sharing a common aspect—a mixed audience response. Khan’s final release of 2023, coming after two blockbusters in Pathaan and Jawan, scored a Rs 28 crore opening. The average opening isn’t worrisome as it hit the marquee on a non-holiday.

What is worrisome, however, is that Rajkumar Hirani’s directorial venture hasn’t impressed the audiences as much as his past gems did. Rajasthan-based exhibitor Raj Bansal says, “The audience was expecting a much better film from Shah Rukh and Rajkumar Hirani. It has fallen short of their expectations.”

The same appears to be the case with the Hindi dubbed version of Prashanth Neel’s action fare that has earned approximately Rs. 15 crores on its opening day. Bansal says the audience is criticizing the dark colour grading of the Prabhas and Prithviraj Sukumaran-starrer.

“Both the films have got mixed response. We had thought that they would run till Fighter arrives in cinemas, but a long run doesn’t seem possible now.” However, team Salaar can celebrate as the film, originally released in Telugu, is enjoying a strong run in the south territories.

Manoj Desai, executive director of G7 Cinemas and Maratha Mandir, says that because of the power tussle between the two movies’ teams, bookings began late at the single screens, causing a loss to exhibitors. “Producers need to understand that had they opened the advance bookings earlier, there would have been more [ticket sales]. We got permission to open Dunki only after 8 pm on Thursday. Right now, we are getting equal bookings for both films,” he says.

Dunki’s opening seems to have been affected by lack of showcasing in single screens. Bansal says the dramedy has to perform incredibly well over the weekend to ensure a hit verdict. “The collections have to be higher than the opening. I don’t buy the theory that Dunki opened [on the lower side] because it was a drama. A well-made Dunki would have done over Rs 500-crore business.”

Prabhas and director Prashanth Neel have much to celebrate. Their action fare, originally released in Telugu, is projected to have amassed about Rs 100 crore in the south territories on its opening day. With this, Salaar becomes Prabhas’ biggest post-pandemic opener, after the disappointments of Adipurush and Radhe Shyam.

Even though the release of multiple films on the same day is not an anomalous trend in the film business, it’s always a subject of discussion when the films in concern are fronted by two heavyweights.

A week away from their date with viewers, Shah Rukh Khan’s social dramedy Dunki and South star Prabhas-led actioner Salaar: Part 1—Ceasefire, have got trade experts speculating how the clash will affect box-office collections. Apart from analyzing the advance bookings of the films that will release just one day apart, distributors continue to decipher an appropriate way to schedule shows for both films, we are told.

Rajasthan-based distributor and exhibitor Raj Bansal calls this clash “iconic” given that two big stars from the North and South industries are set to face off at the box-office. “Salaar is stronger in the South because of Prabhas and director Prashanth Neel, who last delivered KGF: Chapter 2. Dunki is strong across India, but has an edge in the North. I feel, Dunki will take 60 per cent [of the seats] in the North, while Salaar will take 60 per cent in the South,” he says. 

He is, however, quick to admit that clashes of this nature never favour either of the two films, with each facing the risk of losing 20 to 25 per cent of their business.

Bihar-based exhibitor Vishek Chauhan says the loss is even bigger for exhibitors. “Producers can still earn revenues from other platforms, like streaming sites and music rights. But an exhibitor finds himself in a fix. He would have preferred to showcase such big films independently to get good business. Right now, Animal is continuing to do well. Producers should understand and respect the challenge that such a clash poses to us. There are, after all, only four to six shows in a day. With [the Hollywood film] Aquaman also set to release over the same window, we will bear losses because we will have to divide screen time among four films,” he says. 

While Bansal believes that single-screen theatres will favour Salaar, Chauhan says Khan’s collaboration with Dunki director Rajkummar Hirani is also a tease for this market that may not be keen on the genre of social narratives. “I have spoken to exhibitors from small cities, and none of them are ready to [ignore] Dunki,” Chauhan says.

Gautam Dutta, Co-CEO, PVR INOX Ltd, views the situation through a positive lens. He believes that the multiplex chain is equipped to allot enough shows to both the films. “Situations like these are good issues that we like to face, as they bring in huge footfall for cinemas. We are looking forward to the busy phase starting from the Christmas weekend and stretching right into the new year.”

INOX has 1,709 of the 5,000 screens in India.

An adult-rated film, nearly three-and-a-half hours long, and relentless violence—Animal had many factors going against it. But four days since its release, Ranbir Kapoor’s action drama has reportedly amassed Rs. 246 crore across languages. This, despite Sandeep Reddy Vanga’s directorial venture being criticised for its violence and misogyny.

Bihar-based exhibitor Vishek Chauhan says Kapoor’s anti-hero protagonist is precisely why the film is doing unimaginable business.

“Sandeep Reddy Vanga flips the tools of commercial cinema. You have a protagonist, who is a villain, but the audiences are rooting for him. It takes you back to Shah Rukh Khan in Baazigar [1993]. Secondly, he projects his male characters as alpha male. You can call them chauvinist, sexist; they control their environment and women. The wife is shown as meek and docile. This connects with the male audiences, and that is the audience watching the film. In my theatre, so far, the female audience is [only] 10 per cent,” he says. 

Distributor-exhibitor Raj Bansal says he had expected the action drama—also starring Anil Kapoor, Rashmika Mandanna and Bobby Deol —to open at Rs. 35 crore. “I felt the film’s collection would be less because of the length, the ‘A’ certificate, violence and disturbing dialogues. But the film earned Rs. 55 crore on the opening day. Even on Monday, it collected about Rs. 40 crore,” he says, surprised.

The trade expects Animal to enter the Rs. 500-crore club, and even challenge Shah Rukh Khan’s Pathaan and Sunny Deol’s Gadar 2’s lifetime domestic collections.

Chauhan shares, “Amit-ji [Amitabh Bachchan] became [an icon] because he was the angry young man, who represented the common man. Today’s youth is jobless. What they really want is respect, and this is what Sandeep serves them. Animal can challenge Pathaan and Gadar 2’s records. It has enough days till December 21 [when Dunki releases].”

The weekend gone by was nothing less than a carnival at the cinemas, as audiences had four distinct movies to choose from—romantic drama Rocky Aur Rani Kii Prem Kahaani, Christopher Nolan’s biopic Oppenheimer, Greta Gerwig’s satire Barbie, and Tom Cruise’s actioner Mission Impossible: Dead Reckoning - Part One. While the Ranveer Singh and Alia Bhatt-led dramedy earned Rs 45.90 crore over its opening weekend, Oppenheimer and Barbie have amassed Rs 91 crore and Rs 32 crore respectively, in its 10-day run. So, are we finally witnessing a turnaround after the dry spell of the past many months?

Not exactly. Trade analysts say the movie business is far from recovering the losses incurred in the post-pandemic era. “Thanks to Oppenheimer, Mission Impossible: Dead Reckoning - Part One and Rocky Aur Rani, many theatres had housefull boards this weekend. So, we are enthusiastic, but not elated. The industry has a long way to go before we can recover the losses incurred during the pandemic. We need four to five blockbusters to get there,” says exhibitor Akshaye Rathi, who runs a chain of cinemas across Maharashtra, Madhya Pradesh and Chhattisgarh.

Bihar-based exhibitor Vishek Chauhan is less optimistic. He points out that while theatres in metros have witnessed strong footfall, things haven’t changed in tier-2 and 3 centres. “These are primarily multiplex films. The single screens are dead. Audiences didn’t throng my theatre yesterday for Rocky Aur Rani Kii Prem Kahaani, which they did in the case of Satyaprem Ki Katha and Zara Hatke Zara Bachke. We can’t [only] consider the robust collections in metros, and say that theatres are doing well,” he explains.

Distributor Raj Bansal highlights another important factor—that the current business is largely being driven by three Hollywood films, with Karan Johar’s dramedy being the only exception. “When we look at the commercial business of Hindi films in 2023, we don’t have many [successes] so far except Pathaan, Tu Jhoothi Main Makkaar, Zara Hatke Zara Bachke and Satyaprem Ki Katha.”

On that count, Chauhan emphasizes that Rocky Aur Rani Kii Prem Kahaani, being a Johar venture, should have performed much better. “Even in the multiplexes, the film hasn’t gained the momentum that one expected from it. A Karan Johar film should have had an opening weekend of Rs. 75-80 crore,” he says. Fortunately, the movie is enjoying good word-of-mouth and should hold well in the coming days.

Bansal adds that the upcoming movies may give us those elusive blockbusters. “The limited advance booking of Gadar 2 is positive. Then, there is Jawan, and towards the year-end, our hope is pinned on Tiger 3, Animal and Dunki.”