With Sony Pictures having signed on as the international distributor for Ramayana, the two-part mythological epic directed by Nitesh Tiwari, covering all territories outside India, entertainment industry experts say there is an opportunity for large-scale Indian films to reach non-diasporic audiences abroad.
The aggressive release strategy has few precedents—Sony had also distributed Sanjay Leela Bhansali’s Saawariya in 2007, while My Name Is Khan was released by 20th Century Fox. However, most Bollywood studios manage their own distribution, depending on local partners in individual markets.
As Indian cinema becomes increasingly global, partnerships with international distributors could help maximise overseas reach, improve market penetration and introduce Indian films to wider audiences, especially in the case of high-profile titles. On the other hand, local Indian distributors can bring more nuanced strategies for small and mid-sized films.
Room abroad
According to the FICCI-EY media and entertainment report 2026, at ₹2,500 crore, overseas theatrical revenues were less than 20% of domestic theatrical revenues in 2025, far lower than similar ratios for developed international film-producing markets like the US and UK.
“A global studio brings scale. For a project like Ramayana, this means better release dates, wider screen access and stronger visibility in markets where Indian films don't usually get much attention. They also have long-standing relationships with exhibitors and marketing teams across different territories,” film producer Anand Pandit pointed out.
That said, Indian distributors also know the overseas diaspora market extremely well, according to Pandit. Of course, a global studio can help a film like Ramayana travel further. But if you're releasing a midsized family drama or a regional film, an Indian distributor may know that market better.
Sameer Munshi, chief operating officer, Miraj Entertainment Ltd, agreed that global studios bring established international distribution networks, strong relationships with exhibitors, sophisticated marketing capabilities and wider reach across multiple territories. They also bring experience in positioning films for diverse, non-Indian audiences.
Indian distributors, on the other hand, often possess deeper cultural understanding and stronger connections with diaspora communities in specific markets. “The ideal approach really depends on the film's scale, genre and target audience, and in many cases, a collaborative model between the two delivers the best results,” Munshi said.
Tentpole test
To be sure, if the Ramayana strategy pays off, such distribution could become the norm, particularly for tentpole films with universal themes, large production values and international ambitions, according to industry experts.
Film producer and distributor Yusuf Shaikh, also founder and chief executive of low-cost theatre chain Janta Cinema, said international entities could increasingly facilitate formal showcasing agreements across a large number of screens abroad and ensure there are no issues with marketing or programming.
That said, many feel the foundation will always remain compelling storytelling. Global distribution can amplify a film's success, but the strength of the content itself ultimately drives sustained audience acceptance.
Writer, producer and lyricist Vaibhav Modi said the bigger reason for international success has always been an underlying universality of the story.
Take, for example, a film like Dangal, which is a sports film built on the bedrock of gender. Or period drama RRR, that gets positioned as a worldclass potboiler backed by award campaigns and the worlds. Both saw success internationally, with Dangal making over ₹1,400 crore abroad and RRR earning around ₹300 crore.
Trade-offs
That said, many experts feel international partnerships also come with challenges. The trade-offs include higher distribution costs, reduced producer control and the possibility of losing cultural nuance. Indian distributors generally understand diaspora audiences better, although their reach in non-traditional markets may be narrower.
“For selected event films, (this could be the way forward), particularly where international revenues are essential to recovering the investment. The strongest approach is a hybrid structure: an Indian partner for domestic and core diaspora markets, supported by a global studio for wider territories, localisation and premium-format releases. International distribution should be designed as part of the film’s IP monetisation strategy from the outset,” said Rohit Dalmia, chairman and managing director, CineNow, an entertainment financing platform.