For much of 2025, one sentence followed Indian cinema wherever it went. It hovered in theatre queues, surfaced in social media debates, and echoed through trade offices: “Only South Indian films are working now”.
The claim was not without basis. Kannada, Telugu, Tamil, and Malayalam films dominated conversations with scale, rooted storytelling, and confidence. Hindi cinema, by contrast, appeared — at least on the surface — to still be searching for its footing.
Yet beneath the headlines, a quieter shift was underway.
Week after week, audiences continued to return to theatres. Sometimes for spectacle, sometimes for intimacy, and often for stories that felt lived-in rather than loud. By the end of the year, it became clear that 2025 was not about the victory of one cinema over another. It was about coexistence, recalibration, and filmmakers finding new ways to speak to audiences.
Veteran actor Raza Murad, who has witnessed decades of change, reflected on the moment with calm clarity.
“Cinema moves in cycles,” he said. “There are moments of excess and moments of correction. 2025 felt like a year where filmmakers paused and remembered why stories matter.”
When big films worked — and why
The year’s clearest signal came early with Chhaava. Vicky Kaushal’s portrayal of Sambhaji Maharaj relied not on bombast but on internal conflict and restraint. Travelling across age groups and geographies, the film crossed Rs 800 crore worldwide, reminding the industry that historical epics still work when emotion leads scale.
A major beneficiary of this renewed audience trust was Akshaye Khanna. His restrained, authoritative performances in Chhaava and later in Dhurandhar re-established him as one of Hindi cinema’s most reliable performers, firmly returning him to the commercial spotlight in 2025.
Dhurandhar followed with a markedly different energy. Set against the underbelly of Karachi’s underworld, the film relied on mood rather than monologues. Ranveer Singh’s transformation, paired with Khanna’s controlled intensity, turned it into one of the year’s most discussed releases.
Actor Shishir Sharma believes these films succeeded because they refused to underestimate viewers.
“Audiences today don’t need to be spoon-fed,” he said. “They are open to darkness, ambiguity, and layered characters. 2025 proved that intelligence still sells.”
Romance, too, found space. Saiyaara did not attempt to reinvent the genre, but its familiar heartbreak, unforced music, and fresh faces reminded audiences why it works when emotions feel honest. The film quietly joined the list of 2025’s major earners.
Even as large-scale films collected hundreds of crores, another story was unfolding across cinema halls — one that relied less on noise and more on connection.
When noise was not enough
Not all big-budget ventures succeeded. Despite its star power, War 2 struggled to sustain attention beyond its opening weekend. Similarly, Sikandar, mounted as a mass entertainer, failed to strike the emotional chord Salman Khan’s films once did with ease.
These setbacks reinforced a lesson filmmakers encountered repeatedly through the year: spectacle alone no longer guarantees connection.
The rise of the quiet box-office giants
Amid the year’s loudest releases, low-budget and small regional films emerged as its most unexpected victors. Made with modest resources and even lower expectations, these films focused on humour, family bonds, kindness, faith, and community — and ended up outperforming several big-ticket productions.
These were the sleeper hits of 2025. Films that opened quietly, sometimes without aggressive marketing or pre-release buzz, but grew steadily through word-of-mouth and audience affection.
Su From So: A Rs 4.5 crore film that crossed Rs 100 crore
The Kannada horror-comedy Su From So became the year’s most astonishing success story. Produced by Raj B Shetty and made on a budget of just over Rs 4.5 crore, the film featured seasoned theatre artistes and director-writer-actor JP Thuminad in the lead.
Released in July with almost no buzz, the film slowly transformed into a phenomenon.
“When we made Su From So, we had no idea at all that it would become such a big hit,” Thuminad said. “But after two weeks, it was clear the film had turned into a super grosser.”
The story follows Ashoka, a young man suspected of being possessed by the ghost of a woman named Sulochana from Someshwar. Thuminad developed the idea from a real incident in his village on the Karnataka–Kerala border and worked on the script for four years, beginning in 2019.
“It is a film that a family can see with their children,” he said. “There is no violence, no double-meaning dialogues. Audiences were happy to enjoy a pure family entertainer after a long time.”
The film went on to cross Rs 100 crore in India and earned an additional Rs 15–20 crore globally.
Tourist Family: A small Tamil film with a big heart
In Tamil cinema, Tourist Family, directed by Abishan Jeevinth, quietly reshaped expectations. The film portrays the struggles of a Sri Lankan Tamil family migrating to Chennai after the island nation’s economic crisis.
Made on a Rs 7 crore budget, the film opened slowly. However, its gentle humour, emotional honesty, and strong sense of community struck a chord with family audiences. Featuring M Sasikumar and Simran, it eventually collected over Rs 90 crore worldwide, delivering a return on investment of nearly 1,200 %.
Lokah Chapter 1: Chandra: A superhero born from folklore
Produced by Dulquer Salmaan, Lokah Chapter 1: Chandra blended folklore with superhero mythology to striking effect. The homegrown woman superhero resonated strongly with audiences seeking spectacle rooted in cultural imagination, helping the film gross over Rs 300 crore worldwide.
Laalo: Krishna Sada Sahaayate: Faith, family, and a Rs 50 lakh miracle
In Gujarat, Laalo: Krishna Sada Sahaayate, made on a Rs 50 lakh budget, defied expectations to cross Rs 100 crore. It became the first Gujarati film to achieve this milestone — an unprecedented moment for the regional industry.
Mahavatar Narasimha: Animation finds its audience
The Hindi animated mythological film Mahavatar Narasimha, made on a Rs 40 crore budget, emerged as the highest-grossing Indian animated film ever, earning Rs 325.74 crore. Its success brought children and senior citizens back to theatres, reaffirming the enduring appeal of mythological storytelling.
Thudarum: The underdog still works
Directed by Tharun Moorthy, Thudarum starred Mohanlal as a former stuntman turned taxi driver battling systemic injustice. Running for over 50 days in theatres, the film earned Rs 230 crore worldwide, ranking among Malayalam cinema’s biggest hits.
Sitaare Zameen Par: A gentle film that spoke loudly
Amid action-heavy releases, Sitaare Zameen Par, directed by RS Prasanna, stood apart for its empathy-driven storytelling.
“Cinema has always been from the point of view of the audience for me,” Prasanna said. Referring to Aamir Khan, he added, “He’s a guardian of cinema.”
Actor Jayati Bhatia told Patriot, “What moved me this year was the return of empathy.”
Performances that redefined the year
Beyond box-office figures, 2025 stood out for performances that prioritised depth over stardom. Vishal Jethwa and Janhvi Kapoor in Homebound, Abhishek Banerjee in Stolen, Adarsh Gourav in Superboys of Malegaon, Siddhant Chaturvedi in Dhadak 2, Aaishvary Thackeray in Nishaanchi, Kritika Kamra in The Great Shamsuddin Family, and Sanya Malhotra in Mrs. delivered nuanced, emotionally layered work that drew widespread praise.
Actor Govind Pandey summed up the year simply: “The strongest performances came from actors who weren’t trying to impress.”
The losses that marked 2025
The year was also deeply painful for the Indian entertainment industry, which lost several beloved figures whose work continues to resonate.
Dharmendra (November 24) passed away just days before his 90th birthday. Known as Bollywood’s ‘He-Man’, he appeared in over 300 films, including Sholay, Chupke Chupke, and Satyakam. His final film, Ikkis, is scheduled for release on January 1, 2026.
Playback singer and composer Zubeen Garg (September 19), known for Ya Ali, Anamika, and Mayabini, died by drowning in Singapore during the North East India Festival. Assam Police have since filed a chargesheet accusing four people of murder.
Veteran actor Manoj Kumar (April 4), synonymous with patriotic cinema through films such as Roti Kapada Aur Makaan and Kranti, died aged 87. He was a recipient of the Padma Shri, Filmfare Lifetime Achievement Award, and the Dadasaheb Phalke Award.
Satish Shah (October 25), celebrated for his comic roles in Sarabhai vs Sarabhai, Main Hoon Na, and Jaane Bhi Do Yaaro, passed away at 74 following a heart attack.
Govardhan Asrani (October 20), remembered for his iconic role as the jailer in Sholay, died at 84 after prolonged illness.
Shefali Jariwala (June 27), known for Kaanta Laga, passed away at 42 due to cardiac arrest.
Pankaj Dheer (October 15), best known as Karna in Mahabharat, died after battling cancer.
Actor Mukul Dev (May 23), known for Son of Sardaar and Jai Ho, died at 54.
Sulakshana Pandit (November 6), actor and singer associated with classics such as Saat Samundar Paar Se, passed away at 71.
Rishabh Tandon (October 22), singer, composer, and songwriter known on stage as Faqeer, died of a heart attack in Delhi.
What 2025 leaves behind
Bollywood was never finished. It was listening — learning when to speak loudly and when to step back. The year demonstrated that Indian cinema does not require one language, one scale, or one formula.
As Muzaffar Ali reflected, “Cinema survives when it remembers its soul.” In 2025, Indian cinema remembered.
