The sleeper hit that changed the game
Obsession has taken the box office by storm, and its budget of just Rs. 7-10 crores has become the talk of the town. Industry insiders say the film’s phenomenal success is a wake-up call for Bollywood, which has long neglected mid-sized and small-budget films. These once formed the backbone of the industry, but in recent years, the focus has shifted to event films and visual spectacles.
But here’s the uncomfortable truth: audiences are also to blame. Pre-pandemic, indie and mid-sized films like Bheja Fry (2007), made under a crore and collecting close to Rs. 9 crores, were regular hits. A Wednesday (2008) became a sleeper success, and unconventional movies like Peepli [LIVE] (2010) and Love Sex Aur Dhokha (2010) found their audience. Even then, a section of viewers relied on DVDs, satellite TV, or piracy. Post-pandemic, that habit shifted to OTT, and the number grew.
The post-pandemic shift: home comforts rule
When Hindi films returned to cinemas in 2022, smaller and mid-budget movies suffered the most. Films like 8 AM Metro (2023), Three Of Us (2023), and Dhadak 2 (2025) were ignored in theatres despite strong word of mouth. On OTT, they found massive viewership. A source close to the production of Dhadak 2 reveals it would have been a decent theatrical success pre-pandemic, similar to Article 15 (2019).
Meanwhile, smart TVs got bigger, and stores like IKEA began selling comfortable sofas with cup holders—mimicking the cinema experience at home. Many now prefer watching smaller films in their living rooms. Tu Yaa Main (2026), praised by critics and meant for packed theatres, folded under Rs. 10 crores. Do Deewane Seher Mein (2026), acclaimed for its take on toxic masculinity, also bombed. Even Laapataa Ladies (2024), with zero bad reviews, collected just Rs. 20.24 crores in cinemas before becoming a rage on Netflix. Pre-pandemic, it would have been a sure-shot Rs. 60-70 crore grosser.
Time for audiences to step up
The only unconventional films that have worked big time post-pandemic are 12th Fail (2023) and Kill (2024)—both driven by extremely positive word of mouth. Mrs (2025), which got polarized reactions but was widely consumed, could have been the Queen of this decade in theatres. OTT releases like Dhoom Dhaam (2025) and Baramulla (2025) also had pre-Covid box office potential.
Insiders say audiences can’t just blame the industry for favoring big-budget films. It’s time to shed the ‘will watch later on OTT’ mindset and actually head to the nearest theatre for fresh, worthy releases. Producers, too, need to ensure their films stand out through effective marketing. The ball is now in the audience’s court—will they show up?