A quiet shift is underway in an industry long obsessed with opening weekend numbers as the barometer of commercial success.
Even as theatres grow increasingly impatient with slow starts—often pulling films down within days if footfalls don't match expectations—a spate of recent releases has defied the narrative, reinforcing that powerful storytelling and audience endorsement can still reverse early setbacks.
From weak openings to impressive box-office runs, films across languages are demonstrating that word-of-mouth remains a potent currency that can sustain and even accelerate momentum well beyond the first weekend.
Imtiaz Ali’s 'Main Vaapas Aaunga' is the latest flick to prove that, despite a modest opening, movies with relatable narratives and an emotional pull can slowly grow on audiences and build momentum. The film, rooted in the pain of India’s 1947 Partition and made on an estimated budget of ₹40 crore, collected just ₹1.28 crore on the opening day of 12 June. However, it has since scripted a remarkable recovery, earning over ₹46 crore, with its second week emerging far stronger than the first.
Experts say that while opening weekends remain crucial, the industry has increasingly seen instances of films that started modestly before turning the tide through audience endorsement. Over the past few years, titles such as 12th Fail, Laapataa Ladies, Munjya, Premalu, Manjummel Boys, and more recently Saiyaara, Mahavatar Narsimha, Su From So and several regional successes have shown that quality stories can build momentum well beyond their initial release.
Reading the room
“The clearest lesson is that the opening weekend is no longer the full story, and the business is building the patience to act on that. For exhibitors, it means reading the weekday signal before deciding a film's fate, and giving a title that is holding the room the time to find its audience,” said Ashish Misra, head of commercialisation, Cinépolis India.
For makers, it means planning a sustained campaign rather than a single opening push. For the calendar as a whole, it means a healthier mix, where a film does not have to be a tentpole to find its footing, he pointed out. “This reduces the industry’s dependence on a handful of big openings. When more films are allowed to grow, the theatrical cycle becomes steadier and more predictable across the year, which is better for everyone in the chain, from producers to exhibitors to audiences,” Misra said.
To be sure, industry experts believe such turnarounds are possible today because the way exhibitors read a film has changed. A few years ago, a soft opening weekend usually meant a film started losing shows by Monday. Now, the weekday trend is watched far more closely. If a title holds well Monday through Thursday, it indicates that the audience coming out of the cinema hall is sending more people back in. There is intense competition for screens every week, but screen allocation is now being driven by momentum rather than just opening Friday numbers. This is prompting a change in release strategy for smaller films, with makers opting to start with limited screens and scale up marketing and distribution if word-of-mouth is positive.
“The theatrical business today is far more agile than it was a few years ago. When a film starts finding its audience, both exhibitors and distributors have to respond quickly,” said Gautam Dutta, chief executive officer - revenue and operations at PVR INOX Ltd.
Recognition certainly helps a film get noticed early, whether it comes from a filmmaker, cast, music, or an established franchise. In the case of Main Vaapas Aaunga, Imtiaz Ali’s creative track record may have generated initial curiosity, Dutta added. However, recognition alone doesn’t make a film successful. What ultimately matters is whether audiences connect with the story and recommend it to others.
“One of the biggest learnings for all of us in exhibition is every film has its own theatrical journey. Some films open big, while others steadily build momentum through strong audience word-of-mouth,” Dutta said. “Our role is to recognise both. We continuously evaluate audience demand and respond accordingly. If a film starts finding its audience, we support that momentum by increasing shows, expanding its reach where needed, and giving it the opportunity to grow.”
To be sure, the theatrical business in India is often criticised for favouring big-star titles and not giving smaller films enough runway to grow, especially if they fail to generate the initial buzz. However, many believe every film follows its own release strategy, and a sustained performance at the box office is usually a result of a several factors. Quality content, consistent marketing efforts, positive audience response, and exhibitors' ability to optimise shows based on evolving demand all contribute to a film’s overall growth.
“Recent trends have also shown that not every film follows the same trajectory. While a strong opening or a known filmmaker can surely create initial momentum, word-of-mouth—in the form of social media conversations, audience reviews, creator content and digital communities—allows films to find new viewers every day, far beyond the opening weekend. And this can often transform a modest release into a meaningful commercial and cultural success,” said Ashish Saksena, chief operating officer - cinemas, BookMyShow.