When The Kashmir Files achieved box office success in 2022, it seemed like hyper-nationalist, propaganda films had discovered a winning formula. The subsequent success of The Kerala Story further cemented this belief. But that was then. Now, the genre’s star appears to be fading, reflected in the lacklustre performance of recent releases such as Jahangir National University, which has earned only ₹48 lakh since its release last month.
Trade experts attribute this to a change in audience sentiment following the latest election results, steering conversations towards more balanced viewpoints.
For upcoming films like The Sabarmati Report and Kangana Ranaut’s Emergency, the outlook appears grim.
“Theatres have increasingly seen diminishing returns for films belonging to this genre. The point is you can’t drum the same beat constantly. You may be able to pull it off once but it is difficult to replicate that success,” said Rahul Puri, managing director, Mukta Arts and Mukta A2 Cinemas. “Many films have piled to on that narrative and as the polls have showed, the sentiment is not that strong anymore so there could be a natural move away from it.”
In stark contrast to their predecessors, recent films have failed to replicate past successes. The Kashmir Files, released in 2022, grossed over ₹240 crore at the box office, while The Kerala Story crossed the ₹220 crore mark last year. However, The Vaccine War, directed by Vivek Agnihotri of The Kashmir Files fame, managed a mere ₹6 crore in domestic earnings. Similarly, Bastar, from the same team as The Kerala Story, earned just ₹1.30 crore upon its mid-March release.
Other films like Main Atal Hoon, a biopic on former prime minister Atal Bihari Vajpayee, and Swatantrya Veer Savarkar also fell short of expectations, with theatrical runs ending at ₹8.65 crore and ₹23.99 crore, respectively. Barah by Barah, another controversial film, has earned only ₹7 lakh in domestic collections since its May release.
Pranav Garg, managing director at Maya Palace, a two-screen cinema in Muzaffarnagar, said films like Jahangir National University and Barah by Barah managed dismal collections in his theatre.
“It means the next film belonging to the genre may not get great showcasing. The public is tired and an overdose of everything is bad. Audiences can see through a film that is only meant for propaganda,” Garg explained.
Small-town cinema owners emphasize the importance of not alienating any section of the paying audience with films that target specific communities, especially in the wake of recent election results.
To be sure, theatre owners also say the success of well-made political dramas like Article 370 is proof that a hyper-nationalist angle isn’t enough to drive audiences to cinemas; the film needs to be backed by good content.
Devang Sampat, managing director of Cinepolis India, observed, “Films that emphasize nationalist narratives and controversial historical events have garnered substantial buzz, especially after the success of The Kashmir Files and The Kerala Story. These films have shown that there is a considerable market for stories that resonate with audience preferences and interests. However, the genre might face challenges if there is over-saturation and repetitive themes.”
Sampat believes filmmakers will need to innovate and diversify their storytelling approaches to keep the genre fresh and engaging for audiences. It’s crucial, he says, to focus on delivering quality content that resonates with audience preferences to sustain interest and success.