3 hits in 6 months: Why is Telugu cinema struggling at the box office?

India Today

18-06-2025

The past decade marked an unprecedented rise for Telugu cinema. From being a regional force, the industry transitioned into a global player, thanks largely to the colossal success of films like 'Baahubali', 'RRR', 'Pushpa', 'Salaar', and 'Kalki 2898 AD' in 2024. Telugu films, once known mostly through dubbed titles like 'Meri Jung: One Man Army' and 'Main Hoon Lucky the Racer,' are now enjoying a special status across India and even globally.advertisementHowever, beneath this global popularity lies a deeper concern: a shrinking connection with its core audience in Andhra Pradesh and Telangana. In a recent statement, Telangana Film Chamber of Commerce Secretary Sridhar revealed that out of over 40 films that were released this year, only three managed to succeed at the box office and deliver actual profits.This sobering statistic reveals a widening gap between perception and ground reality. Three successful films in six months is not just a number, it's a warning bell. It raises a pressing question: is Telugu cinema truly leading the pan-India wave, or is it caught in the illusion of its own success? And more importantly, what's causing this diminishing local demand and dwindling audience engagement?Burden of pan-India: Bigger isn't always better
The term 'pan-India' symbolises grandeur, massive scale, budgets, multilingual releases, and wide-reaching promotions. While this approach has undeniably expanded Telugu cinema's footprint in the global market, it has also turned into a creative and financial burden.advertisementFor every blockbuster like 'Baahubali' or 'RRR' there are several other films like 'Liger', 'Saaho', 'Adipurush', 'Radhe Shyam', 'Guntur Kaaram', 'Game Changer', and 'Godfather' that fell short of expectations. These high-stakes ventures, often green-lit with inflated budgets and overestimated expectations, lacked the storytelling depth or content strength to justify their scale. This isn't just about isolated failures, it's about an industry pattern. The number of underwhelming and delayed pan-India projects now outweighs the few that actually succeed, creating a lopsided ecosystem. This mindset has trickled down to mid-budget projects as well. Films such as 'The Family Star', 'Double iSmart', 'Eagle', and 'Mr Bachchan' which, pre-pandemic, would have been made on modest budgets and would be pitched as simple entertainers, are now stretched into inflated productions in an attempt to chase the pan-India mirage.As director Vivek Athreya aptly observed in an interview with Gulte, 'Sometimes we are compelled to write something big even if it's not organic.' That single line cuts to the heart of the crisis. When scale becomes a compulsion rather than a creative necessity, storytelling takes a backseat. The result? Bloated narratives, inflated budgets, and unmet expectations. This relentless push for grandeur is crowding the rooted, content-rich cinema that once defined the soul of Telugu filmmaking.Decline in content-driven cinemaadvertisementBefore the Covid-19 pandemic, Telugu cinema balanced its star-driven spectacles with unique, content-first films. In 2018 , the industry showcased its range with star vehicles like 'Rangasthalam', 'Bharat Ane Nenu', and 'Aravinda Sametha Veera Raghava', while also producing critically acclaimed smaller films like 'C/o Kancharapalem', 'Mahanati', 'Brochevarevarura', 'Goodachari', 'RX100', and 'Chi La Sow'. These films demonstrated genre experimentation, creative storytelling, and audience acceptance.But in the current scenario, such diversity is fading. In 2024, even star-led films like 'Pushpa 2: The Rule', 'Kalki 2898 AD', 'Devara', and 'Guntur Kaaram' have received mixed or negative feedback irrespective of their box office performance. While content-led films like 'Hanu-Man', 'Gaami', 'Tillu Square', 'Saripodhaa Sanivaaram', and 'Lucky Bhaskar' stood out, they were too few in number. The root of the issue lies in how theatrical releases are increasingly polarised, either mounted as massive pan-India spectacles or pushed directly to OTT platforms. In this race for scale, mid-budget films that are content-driven cinema are being squeezed out, with little room left for stories that don't fit the pan-India mould but still deserve a theatrical audience.advertisementDirectors in waiting: Why new-age voices are falling silentOne of Telugu cinema's biggest strengths during its rise was its fresh crop of directors. Filmmakers like Gowtam Tinnanuri ('Jersey'), Prasanth Varma ('Awe', 'Hanu-Man'), Nag Ashwin ('Mahanati'), Vivek Athreya ('Brochevarevarura', 'Saripodhaa Sanivaaram'), and Buchi Babu Sana ('Uppena') redefined the scope of Telugu films.However, many of these voices are now notably absent from the scene. Tinnanuri, who last made 'Jersey' in 2019, will only return in 2025 with 'Kingdom' and 'Magic'. Buchi Babu Sana's 'Peddi' with Ram Charan is expected in 2026, almost six years after his debut. Sujeeth, who followed up 'Run Raja Run' with 'Saaho', will finally return with 'OG' after a long hiatus. Others like Rahul Sankrityan ('Shyam Singha Roy'), Srikanth Odela ('Dasara'), and Venkatesh Maha ('C/o Kancharapalem') are either in production limbo or have no confirmed upcoming projects. The problem isn't lack of talent, it's a system that increasingly demands scale over creativity.The missing magic of music and mass elementsMusic has long been a driving force in Telugu cinema, often acting as a bridge between the film and its audience even before its release. A single chartbuster could set the tone and pull audiences into theatres. This year's 'Thandel' is a prime example. Its song 'Bujji Thalli' became a viral sensation, fuelling the film's pre-release buzz and playing a crucial role in its reach. Hit numbers like 'Pilla Ra' from 'RX100', 'Inkem Inkem' from 'Geetha Govindam', 'Nee Kallu Neeli Samudram' from 'Uppena', or the blockbuster soundtrack of 'Ala Vaikunthapurramuloo' - these albums that not only topped charts but also significantly boosted box office performance.advertisement However, that magic seems to be fading. Albums from major films like 'Pushpa 2', 'Kalki 2898AD' and 'Guntur Kaaram' received lukewarm responses from the masses when the films were released, failing to capture the same energy. 'Devara' has been an exception with its promising music, but such examples are becoming increasingly rare. While a few songs like 'Nijame Ne Cheputunna' from 'Ooru Peru Bhairavakona', 'Anuvanuvu' from 'Om Bheem Bush', and select tracks from 'Saripodhaa Sanivaaram' have found traction and they remain outliers in an otherwise uninspired musical landscape.This dip in musical quality points to a larger concern. It's not just about forgettable songs, it reflects a deeper loss of emotional texture. Telugu cinema once thrived on a mix of rousing music, emotional beats, comedic interludes, and mass heroism. With many recent films leaning heavily into action-driven narratives, that signature blend is missing, resulting in a cinematic experience that feels monotonous, emotionally hollow, and easily forgettable.advertisementRise of toxic fandom and online warA less discussed but increasingly damaging factor is the toxic fan culture. The competitive, sometimes hostile, atmosphere on social media has blurred the lines between fandom and propaganda.Puri Jagannadh's 2008 film 'Neninthe' depicted this phenomenon. In a scene, a superstar laments how making films for fans can backfire. Today, we see this play out online daily, where flops are masked as hits through trending hashtags, paid views and promotions, rival films are subjected to negative PR, and objective criticism is drowned out by fan wars.This culture stifles creativity. Directors and writers are forced to cater to fan service over originality. Instead of healthy rivalry, there is hostility that discourages experimentation and fuels herd mentality.Shrinking volumes and postponementsAnother pressing concern is the shrinking number of theatrical releases and the growing trend of constant postponements. In earlier years, the Telugu film calendar maintained a healthy rhythm, balancing big-budget spectacles with mid-sized commercial and experimental films. Today, however, fewer films are being produced, with the majority of resources being concentrated on a handful of high-stakes ventures. The frequent delays of these projects are now disrupting the industry's entire release ecosystem.Summer 2025 is a case in point. What should have been a lucrative season for Telugu cinema turned out to be underwhelming due to poor planning and multiple postponements. One of the most significant delays was that of Pawan Kalyan's 'Hari Hara Veera Mallu', an ambitious project that was originally slated for a summer release. Its postponement had a domino effect, leading to scheduling chaos and forcing other films to either rush production or pull out of the season altogether. This incident underlines how fragile and disorganised the release calendar has become. Beyond missed windows, this trend limits opportunities for emerging actors, technicians, and storytellers, who now find fewer entry points into the industry. It also piles immense pressure on the few films that do release, especially those with massive budgets to perform exceptionally. The result is a film culture that is becoming narrower, less inclusive, and increasingly unsustainable.Can Telugu cinema recalibrate its course?There's no doubt that Telugu cinema's achievements are laudable. It has given Indian cinema some of its biggest hits and the most innovative filmmakers. The Telugu industry thrived when other films were struggling, including Hollywood. But the current cracks, be it in storytelling, directorial momentum, musical resonance, or cultural connect cannot be ignored.If the industry doesn't introspect and course-correct, it risks going the Bollywood way: chasing scale while losing soul. The solution lies in striking a balance, allowing space for both massive entertainers and meaningful stories, and empowering directors to tell those stories without excessive pressure.Reinvesting in storytelling, reviving musical identity, supporting mid-budget cinema, and dismantling toxic fan culture can bring back the variety and vibrancy that once defined Telugu cinema. The global stage is wide open, but to stay there, the roots must grow stronger.