Why the theatre vs OTT debate actually isn’t a debate at allMint's Lata Jha writes about what it will take to get people to throng theatres at a time when streaming platforms are making films cheaper and more convenient.
In The Beat Report, Mint's journalists bring you unique perspectives on their beats, breaking down new trends and developments, and sharing behind-the-scenes stories from their reporting. Dear reader, I am Lata Jha, and I am the media and entertainment correspondent for Mint. Last month, I dragged myself out of bed at 7 am on a Saturday to make it to an early morning show of Brad Pitt’s sports drama F1. Now, I know nothing about motor racing or fast cars, but had heard so much about the film that I had to watch it (even if it meant going for the first show of the day). I am someone who’s at the movies every single week. Yet, I can say one thing with certainty: I don’t remember the last time I saw a theatre this packed and a crowd this enthralled. Imagine that for an English-language film that received a limited dubbed release for Indian audiences! It's not like F1 won't be available on streaming or rental platforms soon, or that multiplexes suddenly decided to be kind and price tickets lower than usual. The truth is, there will always be an option to watch a film outside of the cinema, and let's be real, going to the movies is an incredibly expensive, time-consuming affair. If some films still click in theatres, it’s the film speaking for itself, right? Which, honestly, makes the whole debate about movie theatres vs. streaming platforms feel a bit pointless. The bigger question we should be asking is: Why aren't there enough films today that make going to the theatre genuinely worth it?
The numbers tell a storyThe problem for Bollywood is stark. Ormax, the media consulting firm, reckons that 2024 was a pretty good year for the Indian box office, with just a minor 3% drop in collections. But for Hindi cinema, collections dropped a lot more: 13%. And nearly one-third of this came from dubbed South Indian films! Look at only original Hindi films, and the decline was 37%. Ouch. Without a doubt, costly multiplex tickets and only a handful of "tentpole" movies continue to hurt Bollywood. No wonder, the first half of 2025 saw a meagre 10-20% revenue increase over the same period last year, my recent reporting for Mint has shown. Some films did light up the box office, like Vicky Kaushal’s Chhaava, Ajay Devgn’s Raid 2, and comedy drama Bhool Chuk Maaf. Still, trade insiders are flagging far-weaker-than-expected returns for big-star titles like Sikandar, Housefull 5, and Kesari Chapter 2. This really highlights the urgent need for a more consistent stream of theatrical hits.
What this all boils down to is that the box office is operating in an extreme and polarized way post-covid. Hits are soaring to unprecedented heights, while flops aren't even lasting beyond their opening weekends. What’s at play then?Are audiences getting super-selective about theatres? Or are they avoiding any particular genres? Do theatres stand a chance if producers delay OTT releases? Why does a film like F1 work, despite high prices and an imminent OTT release? Do stars even matter, looking at Saiyaara’s roaring success with two newcomers? Anyone involved in the business will tell you there’s no real formula for coming up with a film that can make the tedious trip to the theatre seem worth it. But some inspiration can come from south Indian cinema, where not only are prices capped (in Tamil Nadu and now Karnataka), but even small-budget films consistently do well. It’s important for films to speak the emotional language of its viewers, and deliver content that is culturally rooted and authentic to local sensibilities, a lesson that Mumbai-based filmmakers have taken long to learn. Bollywood, which largely operates in close-knit privileged cliques, has little patience to either nurture writers who want to tell newer, earthy stories or (in the words of a studio executive I met recently) “have an understanding of life beyond Juhu and Bandra”. Niche and elite themes rarely entice the average viewer or family enough for them to buy a cinema ticket. Single-screen owners also point out the other big issue: a complete absence of awareness among viewers, as many studios focus marketing campaigns on big metros or digital media. Tier-2 and tier-3 audiences remain oblivious to film releases. All in all, I feel filmmakers, particularly in the Mumbai industry, must think on their feet and come up with better reasons for audiences to brave traffic, pay for expensive tickets and popcorn, and come to theatres. And of course, you’ll agree, a cola-popcorn combo that doesn’t cost a kidney wouldn’t hurt! That’s it for today. Here’s a selection of related stories that you can read over the weekend to dig deeper into the trends shaping the film industry in 2025:
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