How 'Saiyaara' sparked the comeback of romance in Bollywood

Khaleej Times

5 days ago

Kavya Yadav, 31, owner of a music marketing agency and Bollywood buff, had almost given up on Hindi films. While Hollywood's summer releases kept her entertained, nothing from Bollywood seemed worth a trek to the theatre. That was until Saiyaara took over her Instagram feed. 'The reels are giving me serious FOMO! I may regret seeing it, but I'll still go; I don't want to feel disconnected from Gen-Z!' she laughs.
If you've been online lately, you've probably seen what Kavya is talking about: weepy post- Saiyaara selfies, dramatic reactions and a flood of hyper-emotional reels — mostly featuring Gen-Z members acting like they've discovered love and heartbreak for the first time.
Cringe or cute (depending on your taste), these videos may be the results of a clever marketing and influencer strategy. But the buzz is real and so is the film's success, grossing nearly Dh88 million (about Rs2 billion) at the time of writing.
However, beyond tumbling box office records, Saiyaara has done something unexpected: it has revived a genre that once defined Bollywood but had been gasping for breath of late: romance.
Season for romance
Recent releases like Aankhon Ki Gustakhiyan, Metro In Dino and Aap Jaisa Koi tested the waters, with the latter two receiving a positive critical response. Then came Saiyaara which divided reviewers but was embraced by fans. In August Dharma Productions' Dhadak 2 and Maddock Films' Param Sundari will hit the screens even as Karan Johar — the man who redefined romance for millennials with Shah Rukh Khan's outstretched arms in Kuch Kuch Hota Hai and Kal Ho Naa Ho — teases his 2026 offering: (the terribly titled) Tu Meri Main Tera, Main Tera Tu Meri.
So, has Bollywood fallen back in love with love? The answer is somewhere in the middle as experts state that romance never really left the room. Mumbai-based journalist and blogger Keyur Seta believes the release timing of these films is coincidental, but Saiyaara has given the genre a fresh lease of life. 'There is always a market for an emotional love story with good music, but Bollywood has hardly been making intense films, especially those involving heartbreak. What Saiyaara has proved is that even a film about love, if made convincingly, can work wonders.'
Noted trade analyst Atul Mohan echoes that sentiment, pointing out how romance has been central to Bollywood's legacy, with many major stars launched through love stories backed by unforgettable music. 'The landscape may change, but a well-made romantic film can still shine on the big screen, especially if it gives the audience something real to feel,' he says.
In an industry known for chasing trends, Saiyaara could very well make romance the flavour of the season. 'If audiences are in the mood for more emotional stories, filmmakers are bound to explore that lane. Perhaps, Saiyaara is just the beginning of that resurgence. And the industry needs more films to work now than ever!' adds Mohan.
Why Bollywood's desperate for hits
Indeed, Saiyaara 's success couldn't have come at a better time for the world's largest film industry, still struggling to find its footing post-Covid. For context: in 2024, Indian cinema earned Dh5.06 billion ($1.38 billion), but Hindi films made up just 40 per cent of that. Telugu blockbusters like Pushpa: The Rule Part 2 and Kalki 2898 AD dominated the charts and nearly a third of Hindi box office revenue came from dubbed South Indian films. Most 'originals' were sequels (Stree 2, Bhool Bhulaiyaa 3, Singham 3), spin-offs or reboots.
2025 hasn't looked much better. Apart from exceptions like Chhaava or Sitaare Zameen Par, most big-ticket films fizzled. Over the last few years, as OTT platforms surged and attention spans shrank, studios scrambled to lure audiences back to theatres with big-budget action, loud Tollywood spectacles and franchise-led fares. 'The industry had been leaning heavily into realism, action, remakes and multiplex-friendly comedies — formats easier to produce and widely appealing,' elaborates Mohan. 'Comparatively, romance, which requires nuance and memorable music, was a difficult sell despite its everlasting appeal.'
The result: love stories and emotional dramas were pushed to the margins.
What the audience wants
Sataish N. Baloch, an immigration lawyer and avid Bollywood fan, observes a deeper shift in how romance has been portrayed post-Covid. 'Most recent films begin with the couple already in love. The audience is simply told they're together, but the journey of how they got there is missing,' he says. 'The magic of the first meeting, the gradual build-up, the meaningful glances — those small but powerful moments that make a love story truly memorable — are often overlooked.'
This, he believes, is where Saiyaara differed. 'It portrayed the full arc of two people meeting, connecting and slowly building a relationship. It reminded us that love isn't just about being together, but about the beautiful process of getting close and truly knowing someone.
This return of romance is a welcome change not just for distributors, but also for audiences fatigued by over-the-top action, horror comedies and divisive historicals. These genres may make money, but for many, nothing compares to the warmth and nostalgia of love stories.
Bader Ali Habib, a marketing professional and founder of Saanjh, a community initiative celebrating desi pop culture, recalls the excitement around Bollywood films in Dubai in the '90s and early 2000s. 'I remember lining up friends and cousins to watch movies like Veer Zara and Kal Ho Naa Ho … the communal viewing experience is missing today. And I also miss the innocence of Bollywood romances and the nuances and understanding of love they brought with them. Back then, even movies made by YRF and Dharma had a lot of heart and soul,' he says.
Though Bader leans towards comedy, ('If I were to organise a screening for Saanjh, I'd probably choose a comedy'), he agrees that the romance genre is evergreen. 'I would love to watch a movie that may not be out of the box cinematically but comes from the heart; where you can see the magic of writing rather than something that is too planned.'
That nostalgia was arguably what drove the success of re-releases like Sanam Teri Kasam and Yeh Jawaani Hai Deewani earlier this year. These older films recorded an average 31 per cent occupancy, higher than the 25 per cent many new releases managed according to box office tracking portals, proving that audiences are still craving emotional connection on screen.
What makes romantic films work
With Saiyaara — an original love story with no franchise baggage — proving its box office mettle, the tide may have officially turned. But as analysts point out, romantic films still need to be powered by two big Ms: music and marketing.
'Music plays the biggest part in setting the tone and building an emotional bridge between the story and the audience,' says Mohan. 'Then comes the chemistry between the lead pair. Whether it's seasoned actors or fresh newcomers, the audience must believe in their bond and feel emotionally invested in their journey. Add to that a fresh storytelling approach and solid craftsmanship across all departments — direction, writing, performances, music and visuals. It all needs to come together seamlessly.'
And marketing does the rest
Much has been written about Saiyaara 's smart promotions. With fresh faces, an original soundtrack and a campaign that bypassed mall events and press tours, the film leaned entirely on its music and social media traction. It worked brilliantly, especially with Gen-Z and nostalgic cinephiles.
Dubai-based film marketer Sandeep Das, whose credits include Jodhaa Akbar, Dev.D, Kahaani, and Laapataa Ladies, breaks it down clinically: 'Three things have worked consistently: good music, campus outreach if it's a youth love story, and influencer marketing using micro-influencers and short videos.'
Not everyone is a fan of the viral videos, though. 'These can be toxic, especially for an impressionable generation,' says Bader, who feels such tactics can undermine a story's innocence and organic appeal.
But Das focuses on the part where the connection with the audience is authentic. 'A love story works when the masses latch on to it. A lot of people like to watch misery on screen, especially in a story with pathos and unrequited love. That's why fans were invested in Ahan Panday as a character more than him as an actor. The lack of pre-release negativity around the stars, combined with controlled social media, smart ticket pricing and strong word of mouth created magic.'
Of course, very few films tick all these boxes. And while the analysis continues, sometimes cinematic success boils down to something more basic: telling a heartfelt story well.
'I feel when love stories are told in a simple manner, they connect across audiences,' says Seta. 'There have been so many films where there's no real conviction in how love is established. We're just made to believe they're in love because they're cast opposite each other. And for older audiences who grew up watching pure love stories like Dilwale Dulhania Le Jayenge, it's deeply nostalgic.'
Does this mean a full reboot of Shah Rukh Khan opening his arms in a mustard field is on the anvil? Maybe. Or maybe not. But for now, it seems love is finding its way back to the movies.