Niharika Bijli, Lead Strategist, PVR INOX: ‘Box office success of re-releases shows theatres are not dying'

Hindustan Times

17-07-2025

The eulogies of theatrical cinema in India have been written every decade. First, it was the VHS boom that threatened it. Then it was cable television. And the newest Boogeyman is the streaming world. But theatres are still alive, at least in India, where housefull boards may have become less common, but they haven't vanished. And as Niharika Bijli, Lead Strategist at PVR INOX, argues, the success of re-releases alone is proof that theatres are here to stay. Niharika Bijli, Lead Strategist at PVR INOX, talks to HT about re-releases and more.
On Umrao Jaan re-release
We meet Niharika on the sidelines of the grand re-release of Muzaffar Ali's Umrao Jaan. Many in the audience saw it in theatres for the first time ever. Talking about the re-release, Niharika says, "We can't take solo credit for this at all. Something like this is a collaboration with the NFDC, the film restoration committee. They have been absolutely amazing. They made it their mission to bring certain films back to the big screen. We are delighted to be able to host these films. And then there are the filmmakers themselves. So a lot of people come together."
When asked if she and the PVR-INOX group consider themselves facilitators of this trend, she responds, "We consider ourselves facilitators but also movers. Ever since this entire strategy of re-releases became more than just festivals, a lot of people have also been encouraged to bring films back."
How the re-release became a trend
The trend of re-releases began last summer in India. For years, Tamil and Telugu hits have re-released on important anniversaries or stars' birthdays. But they were sporadic. It was only the summer of 2024 that made it a widespread trend, even in the north. Talking about how it all began, Niharika tells us, "In Delhi, we did have a period in time where we showed this one-off show in an Anupam (now PVR Saket), or Priya. This was a classic being re-screened. It ranged from a Bollywood movie to Hollywood hits, but in a very limited capacity. We did these experiments, but at that time, none of these properties performed. The genesis of this happened last summer, with Laila Majnu. We did it as an experiment in one property. The kind of response that it got made us take a step back and turn that experiment into a strategy. But it's too early to just even figure out what this beast is. It's still growing."
As films like Tumbbad, Sanam Teri Kasam, and Laila Majnu outdid their original runs upon re-release, the industry took notice. Many films shed the 'flop' tag and became profitable after re-release. That a film which is available on streaming still manages to do well in theatres is no mean feat, something Nihariks points out. "It's a testament to two things. Firstly, these films are a major testament to the makers because they have made pieces that are transcending time. There's that nostalgic pull. But it's not just them. New people are discovering these. So definitely it's a testament to the big screen experience, because these films are available everywhere. There is something about experiencing them in this format with people, with other people in this shared space that is doing something," she says.
Theatres are not dying
This success and feedback are what convince her that she does not need to respond to the 'theatres are dying' jibe. "Theatres are not dying. There are a lot of people who are putting their effort and their entire might behind theatrical - a lot of brilliant producers, actors, etc, who have devoted their careers to making theatrical films, not just within Bollywood, but across India. And a lot of the films are doing well. So I think it's not a statement to really feel. And I really think we're in a place where theatrical and OTT can co-exist and it should," she says.
Niharika adds that some of the classics have worked because of how the 'social media generation' functions. Giving an example of the Raj Kapoor Film Festival, she says, "We live in a generation of social media. So basically, it is somewhere FOMO. But it's also this curiosity that 'Why are the previous generations still talking about these movies?'"
The business of re-releases
But are re-releases just about nostalgia, or does it make business sense too? "It is definitely a combination of both," responds Niharika, adding, "It's not that there is no business in it. If you look at the footfalls of some of our highest-collecting films, like Tumbbad, they are unbelievable. It is a big number, especially for a film that is widely available (on streaming). So that is where we are encouraged in our drive to keep this going."
Niharika informs that collections from re-releases account for 8.5% of PVR-INOX's total revenue."It's not a very big number, but it's also very decent," she says, adding that it was just 4% a few years ago. "It's a market that's growing, and people are enjoying this momentum," she concludes.