Showing posts with label Shaaminder Malik. Show all posts
Showing posts with label Shaaminder Malik. Show all posts
'Tatkal' cut could spoil the show for the film industry
9:25 AM
Move likely to affect multilingual releases, increase legal and operational uncertainty
Rajesh N Naidu & Javed Farooqui (THE ECONOMIC TIMES; June 13, 2026)
Mumbai: Film producers and distributors fear tighter release schedules and greater uncertainty after the Ministry of Information and Broadcasting discontinued the Central Board of Film Certification’s ‘Tatkal’ or priority certification scheme.
The withdrawal of the fast-track system – which allowed filmmakers to get CBFC certification within 10-15 days by paying a premium – from June 1 could aggravate delays in film clearances, already worsened by the abolition of the Film Certification Appellate Tribunal (FCAT) in 2021, industry executives said.
It could particularly affect multilingual releases, last-minute edits and films locked into fixed theatrical windows, while increasing legal and operational uncertainty for producers, they said.
“The impact will be felt most by independent producers and regional films, where production timelines are often compressed and release windows are highly competitive,” said Suniel Wadhwa, cofounder and director at Karmic Films.
Executives said the absence of both FCAT and the Tatkal route could slow dispute resolution, forcing producers into prolonged litigation and making release schedules harder to predict.
The ministry had floated a public consultation in February proposing discontinuation of the priority scheme before formally withdrawing it from June 1 through the notification of the Cinematograph (Certification) Amendment Rules, 2026, on May 20.
Some regional producers and industry veterans welcomed the move, saying the priority system had long disproportionately benefited large studios and influential production houses, often disrupting release plans of smaller producers who finalise theatrical windows months in advance.
“Situation becomes chaotic when big producers release films without advance communication,” said Naveen Chandra, founder of 91 Film Studios. “This disturbs the release schedule of films which have been planned months in advance.”
He said the growing volume of films requiring certification had made the priority system increasingly difficult to sustain.
“India’s long-term average suggests that nearly 1,800 films are produced annually across languages, amounting to almost five films a day. Besides this, there are festival films in sizeable numbers,” Chandra said. “It is not possible to physically watch films on a Tatkal basis and remain objective.”
Distributors highlighted practical challenges in certifying big-budget films, noting that Indian filmmakers, including big directors, often re-shoot and work on visual effects until just days before a film’s release.
“Unlike in the West, where studios plan films well in advance, one hardly sees big directors presenting full films to CBFC one month prior to release,” said Shaaminder Malik, film distributor and trade analyst.
The ministry, while proposing discontinuation of the scheme, had argued that routine use had diluted its intended purpose and created a “two-tier certification system” where applicants with deeper pockets secured faster clearances.
Government data tabled in parliament showed CBFC-certified theatrical films rose to 2,687 in FY25 from 2,031 in FY22. The ministry said average certification timelines for feature films currently stand at 18 working days against the prescribed 48 working days under the Cinematograph (Certification) Rules, 2024.
Why Bollywood production houses turn to distribution
9:52 AM
Producers look to grab a larger share of revenues amid rising costs of filmmaking
Rajesh N Naidu (THE ECONOMIC TIMES; May 4, 2026)
In the past two years, Bollywood production houses are increasingly diversifying into film distribution space. Though not unprecedented, a notable aspect of this shift is that today diversification into film distribution space has become a structural and survival imperative for production houses to deal with rising costs of filmmaking and grab larger share of revenues available across the value chain of filmmaking, producers, exhibitors and film marketing experts said.
Dharma Productions, and most recently Jio Studios, are the two prominent production houses that diversified into film distribution space in noteworthy manner in the last two years.
"Cost of making films has gone up due to the huge talent cost. Then, distributors are doing away with minimum guarantees (upfront cash) to producers. A combined effect of these is production houses venturing into distribution,” explained Suniel Wadhwa, co-founder & director, Karmic Films.
A key rationale behind production houses diversifying into distribution is to retain a larger share of revenues that a film can generate, noted established producers.
A key rationale behind production houses diversifying into distribution is to retain a larger share of revenues that a film can generate, noted established producers.
Functioning as distributors helps production houses reduce their dependence on sub-distributors, explained independent exhibitors.
"Production houses are going full throttle. They have set up offices in Bihar and West Bengal," said independent exhibitor Vishek Chauhan. “They are not dependent on sub-distributors. So, a distributor’s commission is their savings,” he explained.
Independent distributors earn 5-10% of revenues as commission income. “For instance, consider Dhurandhar. The film collected Rs. 1000 crore. And if a sub-distributor’s billing is Rs 450 crore, then 10% of it is Rs 45 crore. This is a huge number,” explained Chauhan.
Unfavourable experiences with studios have also contributed to this trend, noted producers. “There are studios who offer promotion, marketing and distribution to production houses for a fixed fee. These studios take a huge share of revenues earned through a film for the money they invest. This is in the range of 10-50% of box office revenues. This is a reason why production houses have diversified into distribution,” explained producer Rajesh R Nair.
Digitalization is another enabler for production houses to venture into distribution, explained distributors.
“Today, distribution is centralized, thanks to digitalization. One can keep a tab of everything sitting in Mumbai. Due to nuanced data, production houses have been able to negotiate with exhibitors on programming and revenue-sharing,” explained Shaaminder Malik, distributor and film trade analyst.
At present, apart from production houses, players such as AA Films, Pen Marudhar, YRF and PVR Inox distribute films.
In the long run, power dynamics in the distribution ecosystem is likely to shift in favour of multiplexes, said industry veterans.
“Today, multiplexes generate 70-75% of box office revenues. This shows their power in the entire distribution ecosystem. In the long run, the power dynamics will shift in favour of multiplexes,” said Neeraj Joshi, a film marketing and strategy consultant.
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.
Dhurandhar franchise re-writes film template as makers revise, review upcoming and existing films
9:47 AM
Experts laud director’s creative vision, unconventional filmmaking
Rajesh N Naidu (THE ECONOMIC TIMES; March 26, 2026)
Mumbai: The pronounced and indisputable success of Dhurandhar franchise (original film’s worldwide collection: Rs. 1307.3 crore and sequel’s worldwide collection: Rs. 1006.5 crore, eight days) has set a new benchmark in filmmaking in in the Hindi film industry, triggering fresh discussions about revising, reviewing and doing away with old and verbose templates of filmmaking and focusing more on depth and authenticity than stardom, said producers, editors, trade analysts and distributors to ET.
“The Dhurandhar franchise is not a project put together by funding people. It is a triumph of a firm conviction and uncompromising intent of a director in achieving his personal creative vision. It has made mass cinema into event cinema and proved indisputably the importance of a director,” explained producer Rajesh R Nair.
“In recent years, a director’s role has been relegated to mere executor of scenes. This explains the intent of the makers. But the Dhurandhar franchise clearly scores well on intent as it breaks most established conventions of filmmaking,” he added.
Among the various departments, the film’s editing has set a new benchmark, shared editors. “After a long time, I have seen a film where a film’s editing is so clean. There are no loose ends. Necessary shots are preferred to good shots,” said Vaibhav Desai, a veteran editor.
“Using quick-cut transitions, events unfold rather than characters discussing how those events will unfold. This makes almost every scene engaging and pacy. So, the audience does not feel the film’s length,” he added.
Editors cite the quick-cut transition used in the beginning of Dhurandhar The Revenge. The audience is not shown why Ranveer Singh’s character needs an AK47 assault rifle, they pointed out.
The film’s bold and innovative use of music has also been lauded by distributors. “This may be perhaps the first mainstream Hindi film where a director has been so bold in the use of music including background. So many times, the music used is so contrasting and incongruous to the sentiment and mood of a scene,” noted distributor Shaaminder Malik.
“For instance, the use of the song Hum Pyaar Karne Waaley from the film Dil in the scene where Ranveer Singh’s character is abducted and produced before senior intelligence officers may seem risky. But it is the director’s conviction. Also, the use of original and vintage music has connected multi-generational viewers,” he added.
Even the film’s storytelling structure has been appreciated by producers. “The chapter-based narrative structure in the Dhurandhar franchise enhances its engagement and recall. This aids the film’s pacing. Also, it is in line with global viewing sensibilities of episodic storytelling,” explained Suniel Wadhwa, co-founder & director, Karmic Films.
Producers also acknowledged the depth in the film’s writing and clever use of contemporary history which matches the popular narrative.
“In the Dhurandhar franchise, even fictitious characters look real. There is authenticity in the presentation. There is also brilliant use of contemporary history to build a wonderful narrative of India’s resurgence in the films, which is lapped up by audiences,” shared producer Naveen Chandra.
Lastly, the film has also set a new benchmark in seamlessly blending genres without any special track for any one genre, observed producers.
“There are five genres in the Dhurandhar franchise: romance, patriotism, gangster, suspense and thriller. They blend seamlessly well without any genre overpowering This is an exception especially in Hindi films,” observed producer Ameya Naik.
Too many extras: Bollywood actors’ entourages now eat up 10-12% of film budgets, sometimes even more than director’s fee
9:29 AM
Costs crossing 10% of total budget in some movies, often exceed remuneration of cinematographers, writers & directors
Rajesh N Naidu (THE ECONOMIC TIMES; March 14, 2026)
Mumbai: Film producers are facing a mounting dilemma-rising costs of entourages accompanying stars. Such expenses have spiralled to about 10-12% of the total production cost of high mid-budget and big-budget films from the mid-single digits about a year and a half ago.
The drastic increase in budgets comes at a time when the industry is reeling from a volatile box office and few hits, with producers stating that the demands are becoming increasingly unreasonable.
Notably, the additional expense borne by producers often exceeds remuneration of key contributors such as cinematographers, writers, and even directors in some cases, according to producers and analysts.
"Historically, entourage costs were in the low single digits as a percentage of overall budgets," said Suniel Wadhwa, co-founder & director, Karmic Films. "In recent years, these costs have become double-digit figures in select projects. Today, a film requires an additional box office collection of Rs. 2-2.5 crore to recover a cost of Rs. 1 crore attached to it. This shows how high entourage costs impact its earnings."
‘Outrageous Demands of Actors’
Conservative estimates shared by executive producers and veteran producers with ET showed the percentage share of entourage costs in the total cost of producing a high mid-budget film — Rs. 80-100 crore, 70-day shoot — has surged to nearly to 10% in the past one and a half years. In the case of big-budget films — Rs. 100-200 crore, 120-day shoot — the share has jumped to 12% over the same period.
Producers attribute two key factors to this trend. “In the past one and a half years, heads of each overhead expense of some well-known talent have increased their fees,” said veteran producer Rajesh R Nair. “They have also employed more people in each overhead, thereby increasing entourage costs.”
Producers say there are at least a dozen overheads that make up entourage costs. Recently, content team comprising photographers and videographers for actors’ personal social media accounts have become part of entourage costs.
“Producers are catering to outrageous demands of actors,” said a veteran producer, requesting anonymity. “Actors want a meditation coach, life coach, and a companion (wife or a family member) on sets.”
“There is a finite universe of well-known actors and stars who can bring in audiences in theatres. So, producers give in. Also, betting on new faces is expensive given the high costs involved in making and marketing films,” the person said.
The rise of streaming platforms has also changed the dynamics of entourage costs, producers said.
“Before 2015, stars had a make-up artist, hair stylist and vanity van,” said distributor Shaaminder Malik. “Then streamers paid irrational prices for pre-release digital rights. These cash flows spoiled stars and mid-level actors. Producers gave in as digital rights revenues were assured cash flows.”
“But in the past two years, streamers have cut their budgets to focus on profitability. So, producers bear entourage costs today,” he added.
Another producer said actors’ demands have “become so specific and their attitude so stubborn that they are indulging in almost wild caprices.”
For instance, recently, a character actor who had worked for a few days brought a staff of seven people with him who also wanted to stay in the same hotel as the actor, said the producer, requesting anonymity.
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."
The second coming: From Sunny Deol to Akshaye Khanna, mature actors score big at the box office
10:14 AM
Actors aged 50-70 are delivering the goods across Hindi, southern cinema as acting skills trump media gimmicks
Rajesh N Naidu (THE ECONOMIC TIMES; February 5, 2026)
Mumbai: Men with dad bodies, crow feet and grey hair around balding pates are barrelling the cinema box office with gravitas, character and depth. They are also charging hefty premiums while crashing the youngsters' rave in cinema halls and OTT platforms. Films starring mature actors aged 50-70 have recorded impressive box-office collections across Hindi and southern cinema reflecting audiences' growing preference for acting skills and character depth over stardom hype and social media gimmicks, leading producers and distributors told ET. The "second innings" of these actors have turned the match.
In recent years, mature actors such as Sunny Deol (68), Chiranjeevi (70), Nandamuri Balakrishna (65), Venkatesh (65) and Akshaye Khanna (50) have either delivered solo hits or contribute meaningfully to noteworthy hits, giving a run for the money to younger peers.
Notably, these mature actors today are charging fees in the Rs. 15-50 crore range, considerably higher than Rs. 2-10 crore they charged at the prime of their careers, trade analysts said.
Films such as Border 2 (India collection: Rs. 335.7 crore), Dhurandhar (India collection: Rs. 1,004 crore), Mana Shankara Vara Prasad Garu (India collection: Rs. 245 crore), Daaku Maharaaj (India collection: Rs. 108 crore) and Sankranthiki Vasthunam (India collection: Rs. 225 crore) are prominent successes of these mature actors.
"It is impressive that films of mature actors are recording above Rs. 100 crore at the box office almost consistently. After Gadar 2 and Jaat, Sunny Deol delivered another winner in Border 2 at the age of 68 in today's highly unpredictable times," explained Shaaminder Malik, film distributor and trade analyst.
Producers attribute the captivating charisma of these long-established stars as a fundamental reason for their success.
"Across languages, actors in their 50s and above are delivering extraordinary performances. Films today demand larger-than-life, deeply rooted Indian characters. These mature actors who have distinct personalities are showcasing these elements with conviction and gravitas. Audiences are returning to theatres because these actors bring in certain authenticity," said Sunil Bohra, co-founder, Bohra Bros.
These actors have long-established connections with multiple generations of audiences, which works for them.
"These stars attract a wide and multi-generational audience. In a time when younger actors are over-exposed across platforms, the familiarity, trust and legacy of these mature stars work in their favour," shared Suniel Wadhwa, co-founder and director, Karmic Films.
He said that today's audiences are less focused on actors' age. They value depth of talent, presence, nuances, and suitability for roles.
Producers said that the emergence of credible larger-than-life stories such as Dhurandhar have worked in favour of these stars.
"The wave seems to have shifted from south to Hindi film industry. Directors in Hindi film industry are making credible larger-than-life films. These films are working as audiences are responding to them. These mature actors are talented. Today, the difference is they are getting the right roles which exploit their talent," explained producer Rajesh R Nair.
These stars' flexibility in accepting roles which are beyond their 'set image', opportunities from streaming platforms, and almost constant social media buzz around them have worked for these stars, producers said.
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.
Pass box office test or take a pay cut: Streamers get tough on flops
10:43 PM
Platforms start dropping floor prices and cutting base rates for films underperforming in theatres
Rajesh N Naidu (THE ECONOMIC TIMES; January 2, 2026)
Streaming platforms have begun to do away with a fixed base or floor price (a minimum guaranteed payment) for films underperforming in theatres and have reduced base prices by 25–50%, in a move that could bring greater transparency and create a level playing field in the sharing of risks associated with box office outcomes, veteran distributors, independent streaming consultants and producers told ET.
According to distributors and trade analysts, after Sikandar (Hindi) and Thug Life (Tamil), the latest film to see a reduction in its base price is Akhanda 2: Thaandavam (Telugu).
They said that Netflix revised the film’s base price downward by 25% to Rs 67.5 crore from Rs 90 crore after its underperformance in theatres.
“Today, streamers immediately revise a film’s base price if it underperforms in theatres,” explained Suniel Wadhwa, co-founder & director, Karmic Films. “Platforms now read theatrical performance as a sign of audience rejection or acceptance. Box office success is not a validation today but rather a risk filter,” added Wadhwa.
This move by streamers reflects their sharp focus on profitability after having paid irrational prices for films to expand their libraries, materially impacting their profitability.
Today, digital rights are the fundamental trigger for producers to start a film, as these rights provide 40–80% of total film income. Given this noteworthy contribution, streamers came up with slab-wise revenue payments, which meant that beyond a fixed base price (arrived at after considering the average performance of past films of actors and producers), a film gets an additional upside (bonus) of 10–15% for every box office collection milestone set by the platform and the producer.
“It is a fair deal. If makers get an upside, then they must be prepared for a downward revision of the base price if a film flops in theatres,” said veteran filmmaker Vipul Amritlal Shah.
Distributors said that this move by streamers has emerged from poor responses to underperforming films on their platforms.
“In a way, the downward revision of the base price from a fixed base price will keep in check tactics such as block booking of tickets or releasing films on streamers before the eight-week window to recover cash, as practiced by producers,” said film distributor and trade analyst Shaaminder Malik. “Also, flop films do not provide incremental subscribers to streamers,” added Malik.
Another reason for the downward revision in a film’s base price is the fall in streamers’ appetite for content after recent consolidation. Consequently, power has shifted from producers to streamers.
“After the recent consolidation, the appetite for content among streamers is not as high as it was three years ago. Today, they have more realistic criteria for buying films,” said Shrirang Nargund, an independent streaming consultant.
There is a section of producers that believes that if a streamer revises a film’s base price downward, it should not release the film on its platform before the eight-week window.
“If a streamer reduces a film’s base price, then it must not insist on releasing it on its platform before the eight-week window. They must allow a film to stay in theatres. It may contain losses. The idea is to buy the right film at the right price,” said producer Rajesh R. Nair.
Dhurandhar: The spy who came in with Rs 33 crore a day
11:31 PM
Rajesh N Naidu (THE ECONOMIC TIMES; December 19, 2025)
Mumbai: The stupendous success of multi-starrer film Dhurandhar has not only spawned a new template but also rewritten the rules of crafting and presenting spy films in Bollywood, writers, producers, distributors and exhibitors told ET.
In just 13 days since its release, the film has collected Rs 437.25 crore (India net), according to box office research firm Sacnilk, translating into an average daily collection of Rs 33.6 crore. Mounted on a budget of Rs 250–350 crore for its two parts, according to trade analysts, Dhurandhar is currently the second highest-grossing film of 2025 after Chhaava, which collected Rs 716.9 crore in India.
A key factor behind Dhurandhar’s success is its clear departure from existing Hindi spy films.
“In Bollywood, spy films have often been cheaper and tackier versions of James Bond movies. The makers of Dhurandhar have consciously avoided that path. In doing so, they have rewritten the grammar of the spy genre in Bollywood,” said writer and investigative journalist Anirudhya Mitra.
“The film is mounted extremely well. Its sound, production design and cinematography make it a far more credible spy film. It almost feels like a Pakistani film with an Indian character—something audiences have not seen before,” he added.
According to the makers, the film’s detailed storytelling has resonated strongly with audiences.
“Today’s audience rejects lazy storytelling. They appreciate rigour in narratives and depth in character development. Dhurandhar recognizes this. It stays away from the usual Hindi spy trope of romance between agents from rival countries ending in a happy-ever-after,” said Jyoti Deshpande, president – Jio Studios (Media & Content Business at Reliance Industries), one of the film’s producers.
The film’s structure has also contributed significantly to its success, distributors said.
“It is a smartly made film. While the facts may not be entirely accurate, what truly works is its structure,” said distributor and trade analyst Shaaminder Malik.
Challenges such as shrinking attention spans and the lack of authenticity in contemporary films are addressed by presenting Dhurandhar's story as a series of interlinked short films and blending truth with fiction by selectively showing characters representing real people and fictionalising real people,” Malik added.
He said Dhurandhar’s director Aditya Dhar has also interwoven gangster-genre tropes with spy elements to create a fresh universe of larger-than-life characters.
“There is also a jingoistic flavour, which, though tempered, appeals to a section of audiences. These elements have found resonance across age groups,” said Malik.
Consequently, the film’s structure has triggered polarised but intense debates on social media, further fuelling audience curiosity and theatre footfalls.
Exhibitors have even introduced midnight and post-midnight shows, indicating sustained audience interest.
Acknowledging this trend, Gautam Dutta, CEO – revenue and operations at PVR INOX, said, “Dhurandhar has thrived on strong word-of-mouth, high social media engagement around its writing, performances and music, and sustained weekday box-office traction.”
Major film distributors squeeze rivals in fight for box-office gold
8:02 AM
Big players seen using unjust tactics to deprive smaller peers of shows in single-screen theatres, multiplexes, say experts
Rajesh N Naidu (THE ECONOMIC TIMES; October 28, 2025)
At a time when box office performance has become increasingly hard to predict, the battle over pre-theatrical releases in the Hindi film industry has intensified, as major distributors use unfair tactics to limit smaller rivals from securing enough shows in single-screen theatres and multiplexes, trade analysts, producers and independent distributors told ET.
In recent months, reports of tussles over screen and show allocations have surfaced among distributors of major releases such as Coolie and War 2; Kantara: A Legend Chapter – 1 and Sunny Sanskari Ki Tulsi Kumari; and Thamma and Ek Deewane Ki Deewaniyat.
“Sharing of screens and shows on the release day between distributors of competing films has been a long-standing issue. However, of late, it has become too aggressive and ruthless. Today, big and established distributors make almost every possible effort to deprive relatively smaller distributors of competing films from getting a fair number of shows and screens,” said Rajesh R Nair, producer of Hindi films such as Kaminey and Adipurush.
One of the unfair tactics major distributors have reportedly used is threatening single-screen owners and key multiplexes to withhold their films, both current and upcoming, if they allocate shows to competing titles backed by smaller distributors.
“In recent months, industry insiders have shared that big distributors have been threatening single-screen theatre owners and multiplexes that they would not supply them current and future inventory of films if they allocate shows to distributors of competing films,” said film distributor and trade analyst Shaaminder Malik.
Big distributors, with their strong reputations and deep pockets, have the advantage of backing a steady pipeline of theatre-worthy films. These strengths give them an edge over mid- and small-sized distributors when negotiating the number of screens and shows with single-screen owners and multiplexes.
Industry estimates show India has more than 9,900 screens, 55-57% of which are single screens.
“Big distributors have been even stipulating the number of shows their films must get on the release date to theatre owners. All this is at the expense of competing films of relatively smaller distributors,” said Malik.
Industry observers said such tactics by major distributors reflect growing nervousness about how their films will be received.
“Each story is different and appeals to a different audience, so in a sense it’s not a competition. Unjust tactics by big distributors to thwart relatively smaller distributors of competing films from getting sufficient screens and shows on the release day reflects their lack of confidence in the films they are backing,” said Bibhabari Rath Assudani, founder, Motion Mind Ventures, a company that helps filmmakers in critical stages of film-making such as financing and distribution.
Experts, however, pointed out that such tactics offer no long-term advantage, as exhibitors typically adjust show schedules after the opening weekend in favour of films that draw stronger audience interest.
“Ultimately, these tactics of big distributors are short-term strategies. After the opening weekend, only the film which has received high audience preference wins irrespective of the fact whether it is backed by a big or small distributor. Exhibitors promptly change the programming of shows in favour of films preferred by audiences given the capital-intensive nature of the business,” explained producer Rajesh R Nair.
Agreeing with Nair, Suniel Wadhwa, co-founder & Director, Karmic Films shared, “Multiplexes are far more data-driven now. By Sunday of an opening weekend of releases, show allocations automatically tilt toward the film that holds occupancy and momentum. In that sense, market correction plays a critical role in which film will get more shows after the opening weekend of releases.”
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.
Southern films struggle in Hindi; poor marketing, weak stories to blame
9:34 AM
Dubbed regional films struggle to find success in the Hindi belt over the past six months, despite attempts to broaden their appeal
Rajesh N Naidu (THE ECONOMIC TIMES; June 9, 2025)
An increasing number of southern language films dubbed in Hindi have failed to attract a favourable response in the past six months, thanks to limited or no marketing, lack of stories containing universal values and stylish larger-than-life characters, a small four-week window in theatres, and ineffective branding through the deliberate casting of prominent actors from across India.
The recent washout performance of the Hindi-dubbed version of the Tamil film Thug Life points is the latest example.
According to box office research firm Sacnilk, Thug Life collected 1.2 crore in Hindi over the past three days, while the Tamil version earned 26.08 crore in the same period. Apart from Thug Life, dubbed Hindi films such as Retro, HIT: The Third Case and Kanguva have not worked.
Producers believe that the increasing tendency among southern filmmakers to promote films as pan-India offerings is a key reason for their failure.
"A pan-India film is a myth. Deliberately casting actors from different states does not make a southern film pan-India. The Hindi belt audience just wants a good, entertaining film. A good film dubbed in as many languages as you want will work," said Naveen Chandra, founder and CEO of 91 Film Studios, a studio that produces, finances, and distributes regional films.
He cites 'Pushpa 2' and 'Kalki 2898 AD' as examples of films that found a strong audience in the Hindi belt. "In Pushpa 2 – The Rule, the story has not progressed at all. The cop has not caught the criminal. There is a continuous chase. Yet, the film has worked. This is because almost every scene in the film is entertaining. And the Hindi belt audience has loved it," said Chandra.
Pushpa 2 – The Rule was released in December last year. It collected Rs 812 crore in the dubbed Hindi version alone-much higher than the film's collection in its original Telugu, which was Rs 341.4 crore.
Another reason Hindi-dubbed versions are failing at the box office is their storytelling. "The Hindi belt audience is not interested in stars. They are interested in stories that contain universal values, stylish larger-than-life characters, and a high dose of escapism. Of late, however, southern films have been more realistic, with little escapism. Hence, they are not travelling beyond their home states," said Shaaminder Malik, a film distributor and trade analyst.
According to a report by media and entertainment research firm Ormax Media, in 2024, dubbed Hindi films contributed 31% to the total Hindi box office, highlighting the dominance of southern films. But this contribution is likely to drop in 2025.
Limited marketing and promotion, along with a four-week theatrical window, have also contributed to the failure of Hindi-dubbed films. "Of late, a dubbed Hindi film is either not marketed or not well enough. Audiences in the Hindi belt are not aware of these films. Importantly, most southern films stay in theatres for only four weeks before being released to streamers. So, the potential of these films is not fully exploited by Hindi belt audiences," said Suniel Wadhwa, a veteran film distributor.
All quiet on Bollywood front: Producers postpone launches, delay promotions as border tensions dent confidence
9:57 AM
Rajesh N Naidu (THE ECONOMIC TIMES; May 14, 2025)
Mumbai: The military conflict between India and Pakistan seems to have had an unproportionate impact on the Hindi film industry, with many filmmakers delaying promotional and marketing activities, and postponing, or even shelving, film and trailer launches.
The industry is staring at an estimated or potential loss of Rs, 150-200 crore in the form of cost of capital and deferred revenues due to this, according to producers and trade analysts.
"In these times of geopolitical unrest, cinema pauses not from the lack of creativity but from caution," said Suniel Wadhwa, a veteran film distributor and co-founder and director at Karmic Films.
"There are losses in the form of delayed cash, sunk costs, interest on idle capital, broken contracts, and missed momentum. These will have a ripple impact on producers, promotional and advertising agencies, theatres, financiers, and even streamers," he said.
"I think more than Rs. 700-800-crore worth of Hindi films stand vulnerable at this stage," Wadhwa said.
To be sure, there has already been a sense of uncertainty around theatre attendance in the industry, fuelled by a series of box-office flops and an overall decline in collections in recent months, largely due to shifting audience preferences.
The launch of Operation Sindoor, targeting terrorist infrastructure in Pakistan and Pakistan-occupied Kashmir in the early hours of May 7, and the subsequent military conflict further dampened the mood among producers of several Hindi films slated for release in May and June.
Makers of Kesari Veer and Housefull 5 stalled promotional activities, while those behind Sitaare Zameen Par and Thug Life postponed the releases of their trailer and audio soundtrack, respectively. Producers of mid-budget film Bhul Chuk Maaf opted to forego theatre release entirely and instead debut the film on a streaming platform.
Some veteran trade analysts attributed a part of such actions to low confidence among producers. "Even though one cannot rule out the impact of Indo-Pak conflict on cinema, one also has to consider that a big reason behind delaying releases is low confidence of producers to release films in theatres due to increasing unpredictability in theatrical performance of films," said Shaaminder Malik, a film distributor and trade analyst.
"Consequently, there are makers of upcoming big-budget films who are planning to release their films directly on streamers after their teasers and trailers received unfavourable response," he added.
Meanwhile, production of the sequel of the film Sanam Teri Kasam, which performed well on its re-release recently, may get delayed because the main actor has declined to work with the main actress because she is from Pakistan.
Some industry insiders believe the impact would be minimal as the border tensions have eased and life has returned to normal in most of the country since India and Pakistan agreed to stop military action on Saturday.
"I think films scheduled to release in May will be impacted. But releases in June will not be impacted that much," producer Rajesh R Nair said. "But I think Hollywood releases in May will be a saving grace as these franchise films have a huge following in India and their makers are not postponing their release."
First day, but no first show buzz for Bollywood
8:06 AM
Slow openings become the norm as audience preference shifts due to muted promotions, affordable alternatives
Rajesh N Naidu (THE ECONOMIC TIMES; April 21, 2025)
Mumbai: Bollywood's struggle to consistently attract masses to theatres continues, with recent big-ticket releases - Sky Force, The Diplomat, Sikandar, Jaat, and the latest, Kesari Chapter 2: The Untold Story Of Jallianwala Bagh - falling short of industry expectations in their opening box-office collections.
Industry experts attribute the growing reluctance among audiences to catch the first-day-first-show to deeper structural issues, including lacklustre pre-release buzz, weak promotions, the rise of over-the-top streaming platforms as a more affordable alternative, and shifting in audience behaviour, where a film's trailer often seals its theatrical fate.
Tepid openings, they say, have become the new normal - a far cry from the past when a film's Day 1 collection was seen as a benchmark of its star power and box office potential. For example, Kesari Chapter 2 earned just Rs. 7.5 crore on its opening day this Friday - half of the Rs. 15 crore projected by trade analysts.
"Earlier a film would have a reasonably good opening day collection, and then its collection would grow or fall depending on how well it connected. But, today, a film's opening day collection starts with a low number," said Suniel Wadhwa, cofounder and director at Karmic Films.
Also, many movie lovers are waiting for peer reviews and word of mouth rather than watching films on the first day itself even as there is an increasing distrust of opening weekend numbers.
"Audiences trust each other more than marketing campaigns," Wadhwa explained. "Unless a film emotionally resonates and feels authentic, audiences will not show up on a Friday. Artificial inflation of collection numbers will change things. We need to earn the audience's attention and not buy it. Opening day should reflect trust and not tricks."
Lack of adequate promotion is another major hurdle. Bollywood producers are increasingly leaning on social media to promote films, banking largely on trailers released on YouTube to drive footfalls. While effective in urban centres, experts argue this approach may not connect with audiences outside the metros, who continue to rely more on traditional media for film updates.
"There is not enough awareness among people outside metros about films which are up for release," said Shaaminder Malik, a film distributor and trade analyst. "Producers spend big sums on making films. But in recent years, they don't invest adequately in film publicity across newspapers, electronic media, television, and trade magazines."
There are producers who believe that the traditions of watching films on a Friday and making decisions based on weekend collections are gradually declining as audiences want to ensure that a film is worth their investment.
"Friday numbers purely boost actors' egos. It is important to look at what a film collects in the long run," said Rajesh R Nair, who produced films such as Kaminey and Adipurush. "Today, audiences are no longer interested in watching a film's first-day show. They want a real deal. And that real deal is 'good scripts'."
According to Nair, a film made on a good script will have a longer run in theatres, and no amount of marketing gimmicks and fake data can prolong the presence of a film made on a bad script in theatres.
He cited the example of Chhaava - the only major Bollywood hit so far in 2025 - which continues to run in theatres even after almost two months of its release.
Copious and engaging content at a relatively lower cost on streaming platforms has also killed early enthusiasm for watching films on a Friday, experts said.
"Today, streamers are the cheapest form of entertainment if one takes into account the cost, time and hassles involved in reaching and watching a film in theatres," said the MD of a multinational media and entertainment company.
Pushpa 2 Hindi version could prove to be a hit strategy
2:25 PM
Rajesh Naidu (THE ECONOMIC TIMES; December 6, 2024)
In a year when 2024 has been disastrous at the box office, Pushpa 2 – The Rule is expected to be a saving grace, resonating strongly with audiences across geographies, with exhibitors and trade analysts estimating its Hindi dubbed version to contribute 40-50% to its total collection (all languages), up from the 26% contribution of Pushpa: The Rise - Part 01.
Early estimates indicate that the film could collect Rs. 250 crore globally on its opening day.
Amit Sharma, Managing Director at Miraj Entertainment, said, "Pushpa 2 - The Rule has lived up to the long build-up of frenzy and curiosity. In the next four days, the Hindi dubbed version alone will collect Rs. 280-300 crore. Overall, I believe the Hindi dubbed version will collect Rs. 800 crore. In fact, the Hindi dubbed version may contribute 65-70% to the film's total collection."
Exhibitors have sold over 32 lakh tickets in advance bookings (worth Rs106 crore) across all languages. Film distributor and trade analyst Shaaminder Malik said, "95% of shows in the non-southern markets have been allocated to the Hindi dubbed version, thanks to early positive trends."
The film's ticket prices are 30-40% higher than usual rates. Given its immense mass appeal, favourable word-of-mouth recommendations, high occupancy levels, and no competition for the next two weeks, the higher ticket prices are expected to boost collections across all languages. Made on a budget of Rs. 400-500 crore, the film may achieve a lifetime collection of Rs. 1,200-1,400 crore across all languages, according to trade analysts.
Girsh Wankhede, a movie trade analyst, said, "The makers followed a blitzkrieg marketing strategy, starting with the re-release of the original film, Pushpa: The Rise - Part 01, and a promotional tour in Patna. I believe the share of the dubbed Hindi version of Pushpa 2 – The Rule to the total collection will be at least 40%."
Pushpa 2, Baby John and Mufasa: The Lion King could generate Rs. 1,500 cr at box office
11:20 PM
Pushpa 2, Baby John and Mufasa: The Lion King could generate close to Rs. 1,500 crore at the box office, say analysts
Rajesh N Naidu (THE ECONOMIC TIMES; November 28, 2024)
The Hindi film trade is betting on three highly anticipated releases to end 2024 with a big bang after what’s been a lacklustre year. Tellingly, only one of these is a bonafide Bollywood movie--Baby John, starring Varun Dhawan. The other two are Hindi dubs--Allu Arjun’s Pushpa 2 - The Rule (a Telugu original) and Disney’s Mufasa: The Lion King, with the titular character voiced by Bollywood star Shah Rukh Khan.
With the trade talking up their chances, analysts estimate these three movies have the potential to collect close to Rs1,500 crore at the box office, with Pushpa 2 accounting for as much as two-thirds of this. The film will be released on December 5, Mufasa on December 20 and Baby John on December 25.
“Pushpa 2 is the most anticipated film of the year,” said Gautam Dutta, CEO, revenue and operations, PVR INOX. “With its massive fan base eagerly waiting, the film is projected to be the highest grosser of the year. We are expecting house-full shows in cinemas across India.”
One of reasons for the optimism about December being a bumper movie month is the diversity of genres on offer. “December has always been huge for the Hindi film industry but this year is an exception,” said Girish Wankhede, an independent movie trade analyst. “Audiences have access to a diverse palette of genres: masala entertainer (Pushpa 2), action (Baby John) and a great franchise which has a strong recall or nostalgic value (Mufasa).
Besides this, these films are being promoted sufficiently well.” What will also work in favour of Pushpa 2 is the eagerness to discover what happens to the characters and plot threads introduced in the first instalment, Pushpa: The Rise (2021). The sequel could drum up Rs1,000 crore business on the opening weekend itself, according to trade estimates, given the fan frenzy over the Hindi version, the trailer of which has got higher views than the original in Telugu.
According to YouTube data, the Hindi trailer has got 72 million views, ahead of the Telugu version’s 62 million. A publicity event at Gandhi Maidan in Patna in Bihar attracted close to 200,000 people, indicating how deeply the film has penetrated the Hindi hinterland.
“There is tremendous craze around Pushpa 2,” said film distributor and trade analyst Shaaminder Malik. “The film makers have left no stone unturned in marketing and promoting the film. This has added to the curiosity.” He also pegs collections at Rs1,000 crore given the pan-India following.
Baby John, which presents actor Varun Dhawan in a mass action entertainer for the first time, could drum up business of Rs. 100-200 crore at the box office, Malik said.
The festive Christmas mood may prove advantageous for Baby John as well as the Disney release, with audiences equally excited about the Mufasa, especially with SRK’s voice.
"The origin story of Mufasa and Taka has generated huge interest among parents to showcase it to their children. We have received requests for group bookings from parents,” said Rahul Dhyani, founder of Connplex Cinemas, a miniplex (75-seat theatre) chain with halls in Bihar, Jharkhand, Maharashtra and Gujarat.
Many of these parents would have watched the original, animated movie The Lion King, back when it was released in 1994, its massive success spawning various spinoffs over the years. The film itself was remade in photorealistic animation in 2019.
“The film has a certain degree of familiarity among younger audiences,” Dhyani said. “Besides this, the franchise has a fairly loyal following among audiences who love animated movies. The voiceover of the film's Hindi version is done by actor Shah Rukh Khan, adding further excitement.” Mufasa could collect Rs. 100-200 crore all over India, he said. On the whole, he said these three films could collect close to Rs. 1,500 crore in December itself.
Apart from Hindi, Mufasa will also be dubbed in Tamil and Telugu, also by superstars--Arjun Das and Mahesh Babu, respectively.
Historically, December has been a key month for box office collections. The month has, in the past few years, seen big local and Hollywood releases such as Animal (2023), Godzilla Minus One (2023), Avatar: The Way of Water (2022), Spider-Man: No Way Home (2021) and Dabangg 3 (2019), all among the top 10 grossers in their years.
After fireworks, big budget movies fizzle at the box office on unfavourable reviews
6:51 PM
Rajesh Naidu (THE ECONOMIC TIMES; November 8, 2024)
Mumbai: The trade circuit lowered its combined box-office expectations from Singham Again and Bhool Bhulaiyaa 3 to Rs. 500-600 crore from Rs. 1,000-1,100 crore, following unfavourable word-of-mouth publicity over the past four days and a dip in collections.
Film distributor and trade analyst Shaaminder Malik said that while successful big-budget films usually see a 15-20% drop on Monday before regaining momentum, both films have seen a steady decline in collections since Sunday.
"Expectations for these two films are limited now," he said. According to early reports from Sacnilk, the Diwali releases Singham Again and Bhool Bhulaiyaa 3 have seen a steady decline in box-office collections over the past six days. Both films opened strongly, earning about Rs. 43.5 crore and Rs. 35.5 crore, respectively on Friday. However, by Sunday, collections had dipped to about Rs. 35.75 crore and Rs. 33.5 crore. The downward trend continued, with the films' earnings dropping to about Rs. 10.25 crore and Rs. 10.5 crore by Wednesday.
"Generally speaking, if word-of-mouth recommendations of big films are positive, then their collections progressively improve during a week. Since the word-of-mouth recommendations of both these are a mixed bag, their collections began to decline from Sunday itself," said Girish Wankhede, a film trade analyst.
He added, "Ultimately, it boils down to content. The content of both films is not appreciated well. There is no repeat value in these films. Even the music in both films lacks depth. Neither of the two films has found takers among audiences, which is reflected in their falling collections."
A section of exhibitors is of the view that the collections at the end of the second week of the release of these two films will be crucial in gauging how they will perform in the coming weeks.
Devang Sampat, managing director at Cinepolis India, said, "I believe the true test of these films will be the second week. Both films are working well right now. I believe that both films have surpassed the box office numbers of their previous franchise films."
According to Sacnilk, Singham Again collected Rs. 164.2 crore in the first six days of its release, while Bhool Bhulaiyaa 3 collected Rs. 148.7 crore.
Weekend dhamaka at Box Office: Collections from Singham Again, Bhool Bhulaiyaa 3 top Rs 230 cr, lift exhibitors’ hopes
8:09 AM
Rajesh N Naidu (THE ECONOMIC TIMES; November 5, 2024)
Mumbai: Encouraging response to the much-awaited big-budget releases-Singham Again and Bhool Bhulaiyaa 3 on the Diwali weekend has provided some respite to exhibitors who were struggling with a dry spell of no fresh release for a few weeks.
According to early reports from the trade circuit, the combined collection of these two releases for the last weekend (Friday to Sunday) was Rs. 231.4 crore. While Singham Again made box-office collections of Rs. 121.2 crore, Bhool Bhulaiyaa collected Rs. 110.2 crore, they said.
"After a long period, two big films released in theatres on the same day. The festival period provided the much-needed boost required at the box office in terms of strong collections," said Girish Wankhade, a movie trade analyst.
These films, however, are not competing at the box office, he said. "Screens were not proportionately shared between these two films. The ratio of screen count between the two films is 60:40 with Singham Again receiving 60% of the total screens..."
Singham Again is distributed by PVR Inox Pictures, the distribution arm of multiplex giant PVR Inox, which runs 1,747 screens. Bhool Bhulaiyaa 3 is distributed by AA Films, which is owned by Anil Thadani, a pan-India distributor. Besides higher share of screens and huge star cast, the scale and production quality of the Singham cop universe or franchise have worked in its favour and resulted in higher collections. Due to this, according to trade analysts, the budget of Singham Again is estimated to be in the range of Rs. 300-Rs. 350 crore, while Bhool Bhulaiyaa 3 is made at a cost of Rs. 150 crore.
Film distributor and trade analyst Shaaminder Malik said: "Though the opening weekend of both these big-budget films have generated good collections, one must also bear in mind that collections of both these films on Monday and Tuesday will be the litmus test."
Collections had dropped for both on Sunday after they secured high interest from audiences for the first two days, he said.
Exhibitors will decide on increasing or decreasing shows of these films based on how they fare on Monday and Tuesday, analysts said. A trade analyst who wished to be unnamed said: "At present, there is a drop in collections of both films on Sunday. So, exhibitors will not favour any one of these two films immediately." He added that through word-of-mouth publicity it will be clear only by either Tuesday or Wednesday as to which film will get more shows in the coming weeks.
Interestingly, amid their release, these two films have successfully sold their streaming or digital rights.
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