Mar 14, 2026 7:09pm IST
Why theatrical audiences are not lapping up award-worthy films
Most Indian films in contention at prestigious award shows like the Oscars or the BAFTAs rarely do well during initial theatrical runs and only find renewed yet limited interest during awards season, if at all. This is despite some being backed by big studios in the country.
The Dharma Productions-backed “Homebound” (originally released in September 2025) did not make it to the Oscars shortlist while a relatively unknown Manipuri film “Boong,” backed by Excel Entertainment (also originally released in September) won a BAFTA award for Best Children’s and Family Film a few weeks ago. Both films did modest business upon initial release.
Despite being in an era where multiplexes back big names like Dharma and Excel, the shows and screens allotted to such films are very limited and the resulting business is also proportionate. Is there a cause-and-effect factor at play? Do international honours not matter to domestic audiences? More importantly, is lowering ticket rates for such films the solution?
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Maintaining that their role as exhibitors is to primarily connect a film with its audience, Niharika Bijli, Lead - Strategist, PVR INOX Limited, stated, “For certain films, it may be about scale; for others, it is about reaching the audiences they were made for. We are most encouraged when a film begins to find that audience and the conversation around it grows. When that happens, our job is to support the film further by extending its runs or bringing it back to theatres when there is a revival in audience curiosity and demand. This is also one of the key objectives of our re-release strategy, which seeks to give certain films a second life in cinemas. ‘Boong’ was originally released in September, and while it did find an audience back then, it definitely earned more visibility after its BAFTA win. That is why both the producers and exhibitors felt it deserved a second run, so newer audiences have a chance to discover the film. The response has been encouraging, strong enough for us to increase shows and expand the film into new cities based on audience interest.”
She added, “Ticket prices vary across cinemas, cities, days, and films. For independent and award-winning titles, we have special festival rates that are significantly lower than blockbuster pricing. The re-release of 'Boong,' for example, was offered at our special re-release pricing, which is considerably lower than regular ticket rates. However, the real solution goes beyond just a cheaper ticket. What really makes a difference is nurturing a culture where audiences feel curious and excited to discover different kinds of cinema through word-of-mouth and seeking the collective experience of celebrating these stories on the big screen. It gives films the time and space to find their audience, while ensuring that cinemas remain a place not just for spectacle, but also for discovery and for stories that matter.”
Devang Sampat, Managing Director, Cinepolis India, opines, “If there is one thing the post-pandemic box-office has made clear, it is that when content resonates, audiences show up. No star, no language, no region is a barrier. ‘Thaai Kizhavi,’ a Tamil film led by Radhika Sarathkumar with no marquee male star, has crossed Rs. 50 crore worldwide in 10 days purely on audience advocacy. ‘With Love,’ a Tamil teen romance with newcomers, became a surprise hit this February. If that can work for a women-led rural drama from Tamil Nadu, there is no reason it cannot work for a film from the Northeast or any other region.”
He adds, “The challenge for award-circuit films is not audience appetite; it is visibility. Most of these titles arrive with a fraction of the marketing spend that our commercial releases command. Award recognition generates conversation among a specific audience, but it does not create the opening-weekend urgency that drives theatrical performance. The audience needs a reason to show up in the first week, and that requires investment in awareness, not just critical acclaim.”
He further states that ticket price is not what keeps audiences away from these films, awareness and intent are. “Our Tuesday admissions have grown from 9-10 percent to 15-16 percent of weekly footfalls, but the films that benefit are the ones audiences already want to watch.” A lower price accelerates a decision that has been made; it does not create intent where none exists. The ecosystem needs to treat the theatrical release of independent films as a genuine commercial window with real marketing investment behind it, not a qualifying run before streaming.”
Rahul Puri, Managing Director, Mukta Arts Limited and Mukta A2 Cinemas feels that the publicity that comes from such accomplishments is still limited, as compared to the kind of marketing push that a big, mainstream film gets. “The other thing is that these films, from an exhibition and programming point, are all niche at the end of the day,” he says. “Take a film like ‘Homebound’: undoubtedly a very good film, but ultimately, it will have a limited audience and appeal. It did not work in our cinemas. Given the fact that the audience knows these movies will release on OTT within a few weeks, they decide that watching them there will be a better option! A lot of these films do get great traction on streaming because the niche audience prefers that. Exhibition in theatres is more of a mass product.”
He agrees with Sampat saying, “I do not think lowering ticket rates is the answer. Audiences are perfectly willing to pay any price for what they want to see. From the exhibition point of view, the challenge is getting a bigger, better push from a distributor. That alone can create a buzz that will justify more screens.”
Oscar Jury 2025 member and filmmaker Akshay Parija contends that Indian films that make it to the awards are usually not big films with big stars like “Sinners,” which has 16 Oscar nominations. “Most Indian films are moderate movies for a specific type of audience."
Oscar Jury 2025 member and screenwriter Ranbir Pushp offers a different point-of-view. He offers, “‘Anora’ won the Palme dr at the 77th Cannes Film Festival as well as five Academy awards, including Best Picture. It proves that a film need not be arthouse to make it to the awards club! It was a blockbuster! We Indians think only arty, ‘aadha-tedha’ movies can be eligible for awards.” He believes the solution is that award juries “should be open to mainstream movies that may rightly deserve such honours!”
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