NEW DELHI
:
Undeterred by a lukewarm box office reception, the Indian film industry is going big, rolling out movie after movie on a grand scale.
The two-part mythological epic Ramayana—whose first instalment is due in 2026—is touted as the most expensive Indian film ever, with a budget of ₹4,000 crore. Director S.S. Rajamouli’s untitled venture starring Mahesh Babu is pegged at over ₹1,000 crore, while films like Love and War and Spirit are expected to cost upwards of ₹300 crore each.
But instead of inspiring confidence, the trend has raised concerns, with industry insiders fearing some of the upcoming tentpole films could collapse under their own weight.
That’s because not only are satellite TV and streaming rights dwindling, but limited screen penetration and piracy are also eating into the movie business. Further, sky-high expectations and steep ticket prices dampen word-of-mouth.
“That concern is always going to be there with big-budget films, especially since some movies with massive investments haven’t really succeeded despite doing reasonably well at the box office. It boils down to some amount of disconnect with audiences,” said Rahul Puri, managing director, Mukta Arts and Mukta A2 Cinemas.
Box-office blues
Recently, big-budget films like War 2, Housefull 5, and Kesari Chapter 2have failed to recover their costs despite initial hype and impressive opening weekend collections.
Housefull 5, which was made for over ₹240 crore, earned ₹160.72 crore, which will be split between producers, distributors, and exhibitors. ₹400-crore War 2, released during the Independence Day weekend, has made just ₹146 crore so far.
Though big-budget films such as Ramayana feature a big star cast—Ranbir Kapoor and Kannada star Yash—to attract both north and south Indian audiences, experts point out that limited screen penetration thwarts their theatrical potential. A film can, at best, be released on 5,000 screens at once in India.
“Pre-sales are more difficult now than ever before. The film needs to do well in theatres to be considered a hit,” said independent trade analyst Sreedhar Pillai.
Bigger is not always better
According to movie trade experts, films told on a wider canvas, usually featuring an ensemble cast and substantial VFX layering, naturally demand massive investments, which can increase even more during international schedules and prolonged post-production processes. Often, budgets rise not because of one specific reason but due to a combination of factors such as delays in shooting, re-edits, and remuneration for artists and technicians.
“Even with a solid shooting plan, things can sometimes go off track. Deals on non-theatrical rights, such as OTT and satellite, once played a crucial role in cost recovery, but these too cannot be taken for granted now. That is why a big-budget film today needs to do good business in theatres. Plus, makers should observe a strong production discipline as well,” said film producer Anand Pandit.
He added that before venturing into a big production, the first thing that the producer has to consider is whether the script truly deserves a humongous scale or not. “Bigger is not always better; the emotional connection with the audience is what ultimately decides the film’s success. Second, the planning has to be sharp. That means locking your shooting schedules, controlling costs, keeping your team aligned, and avoiding unnecessary delays. Third, think of your recovery model right at the beginning, whether through co-productions, brand tie-ups, or pre-selling rights across languages and platforms.”
Today, the audience is very aware. They appreciate effort, but only if it translates into a good story, Pandit cautioned.