Every industry goes through correction phases, and Indian cinema is no different. What we are seeing now is not an implosion but a necessary reality check.
The first lesson is about audience expectations. When RRR or Baahubali worked, it wasn’t simply because of who starred in them, but because the films themselves were rooted in strong narratives, universal emotions, and cultural resonance. The audience embraced the stars because they were central to the story, not tacked on as selling points. By contrast, when stars from different industries are added as cameos or supporting roles, the gimmick becomes obvious. Deepika’s sidelining in Kalki 2 or Aamir’s blink-and-miss in Coolie underscored that point.
GET READY TO RELIVE #RRR from March 3rd!! pic.twitter.com/M8gExgwtMJ
— RRR Movie (@RRRMovie) February 26, 2023
The second lesson concerns economics. These films are often budgeted like global spectacles, with figures soaring past ₹500 crore. Yet the Indian market, while growing, is still not deep enough to consistently sustain such numbers. Ancillary revenue like OTT and satellite rights help, but not at the scale required to offset a box office under performance. Studios are discovering that star arithmetic cannot substitute for storytelling and market math.
Also Read: Pan-India Dream | When the Cracks Began to Show | Part 2
#Baahubali × Biggest Screen = PCX
— Mohan Kumar (@ursmohan_kumar) August 26, 2025
The epic returns this 31st Oct ’25. Don’t miss the experience in PCX ! pic.twitter.com/0xsXOVaVs5
The third lesson is about self-sufficiency. Southern industries have proven that they don’t need Bollywood stars to achieve national or even global success. Rajamouli, Prashanth Neel, Sukumar, and Atlee have shown that the South’s creative engines can power films across borders without external help. Meanwhile, Bollywood is rediscovering that culturally rooted films like Stree 2 or Bhool Bhulaiyaa 3 can provide steadier, more reliable returns than pan-India experiments with shifting loyalties and ballooning budgets.
