Box Office: Bollywood needs to figure "How to make 12 super hits" a year - Here's why

The Mumbai Industry has become a hub for fantastic OTT content. Theatrical domination is by the South Indian industry. Is it safe to say Bollywood has turned to OTT-Wood? Thoughts.

By Vishek Chauhan

Published on Jan 28, 2025 | 03:10 PM IST | 35.8K

Bollywood is becoming a hub for great OTT content while theatrical sector is being dominated by South industry (Credit: Prime Video, Mythri)

Watching Black Warrant on a friend’s recommendation was a thoroughly enjoyable experience. The very next day, when Paatal Lok 2 released on January 17th, I finished it in one sitting, captivated by its intense storytelling. Around the same time, Pushpa 2 was celebrating its 50-day run in theatres on January 23rd, marking another milestone for southern cinema. This juxtaposition of events got me thinking about the shifting dynamics in Indian cinema: Is the Mumbai film industry gradually transitioning to become a hub for the best OTT content, while the theatrical space is being dominated by southern filmmakers?

In recent years, Indian cinema has witnessed a fascinating shift in dynamics, with the Mumbai film industry—commonly referred to as Bollywood—seemingly leaning towards a future dominated by OTT (Over-The-Top) platforms. Meanwhile, the southern film industries, encompassing Tamil, Telugu, Malayalam, and Kannada cinema, have been thriving in theatrical spaces, both commercially and critically. This trend begs the question: Is Mumbai gradually ceding the theatrical space to its southern counterparts?

The rise of OTT platforms such as Netflix, Amazon Prime Video, Disney+ Hotstar, and SonyLIV has undeniably altered the filmmaking and viewing landscape in India. Directors like Vikramaditya Motwane, Vishal Bhardwaj, Anubhav Sinha, Hansal Mehta, Anurag Kashyap, Sudhir Mishra and Shoojit Sircar, known for their unique storytelling styles, seem to have found creative freedom on these platforms. Their ventures, like Bhardwaj’s Khufiya and Motwane’s Ctrl, have not only garnered critical acclaim but also highlighted the quality-driven content now flourishing in the OTT space. These platforms provide a level playing field for unconventional narratives that might not guarantee box-office returns but resonate deeply with niche audiences.

One of the primary reasons for this shift of top talent in Bollywood to OTT platforms is the poor box-office performance of films in recent years. The theatrical ecosystem in Mumbai has been struggling, leading to a reduction in greenlighting projects by these top filmmakers. Great cinematic talent can only be nurtured under a robust theatrical ecosystem. When the entire ecosystem is suffering and films are consistently underperforming, it becomes increasingly challenging to approve projects that are perceived as risky. By pushing away filmmakers to OTT platforms, Bollywood is missing out on new and varied content that pushes the boundaries and explores new avenues. Commercial cinema plays safe, but these niche, experimental films, when they work in a robust theatrical landscape, have a positive impact on commercial cinema, which evolves alongside them. Bollywood, throughout the last two decades, was able to achieve this balance and nurtured top talent during that period. It was also during this period that they compromised mainstream Commercial Cinema and focused too much on niche content. Mainstream Cinema took a backseat and niche thrived. The balance has to be maintained at all times else the Industry goes into a tailspin.

In contrast, the southern industries have capitalized on the theatrical market with spectacular commercial successes and critically acclaimed projects. The recent release of Pushpa 2, which celebrated its 50-day run on January 23rd, exemplifies this trend. Directed by Sukumar and starring Allu Arjun, the film has become the highest-grossing Hindi-dubbed film by a significant margin, demonstrating the pan-Indian appeal of Telugu cinema. Similarly, Malayalam cinema, known for its content-driven narratives, has delivered theatrical hits that emphasize storytelling finesse. Films like Manjummel Boys, The Goat Life and Marco have successfully balanced critical and commercial success.

The robust theatrical ecosystem in the south enables filmmakers to take risks and experiment with their storytelling. Southern cinema consistently delivers blockbusters that strengthen the ecosystem and provide a safety net for riskier projects. For instance, Tamil cinema, although experiencing a slow first half of the year, rebounded strongly with films like Amaran. This resurgence reflects the resilience and adaptability of the Tamil industry in responding to audience preferences. Kannada cinema, too, has made its mark, with Kantara and KGF setting new benchmarks for regional films in the national and international markets.

As Mumbai focuses on catering to OTT audiences, it risks losing its dominance in the theatrical space. The south, on the other hand, is proving that regional content with universal appeal can attract Pan India Audiences. The collaboration between Bollywood and the south, as seen in Jawan, might offer a blueprint for future endeavors, but the imbalance remains stark.

Ask any filmmaker, where they would like to see their films screened, the answer would be a unanimous ‘Theatrical’. They got into the business because of the ‘Big Screen’ in the first place. Its only, when they are left with no choice that they move to OTT platforms. We all are aware of Christopher Nolan’s stand on the same. I also distinctly remember, the way Denis Villeneuve had protested against Warner Bros for theatrical release of Dune Part One.

Bollywood needs to figure out to bring these makers back to theatrical medium , but before that can happen it needs to figure out “ How to make 12 Superhits” in a year. But, If this trend continues, the future might see a clearer demarcation: Mumbai as the hub for OTT content, fostering experimental and niche projects, and the southern film industries reigning supreme in theatres. As a theatre owner, dependent upon The Hindi Film Industry, I hope that we figure out our secret sauce and embark on the growth path.