MUMBAI: The dependence of the India box office on the top 10 films reduced from 41% in 2024 to 33% in 2025. Ormax Media’s report says that this indicates renewed strength in the long tail, and a broader theatrical recovery.
This reverses three years of high concentration. Gross box office from the non-top 10 films grew from Rs. 6,981 Crores in 2024 to Rs. 8,975 Crores in 2025, i.e., a growth of 29%
A broader success base emerged, with 37 films crossing Rs. 100 Crores in 2025 compared to 22 in 2024, indicating improved commercial viability beyond tentpole titles.
The report identifies reasons for this structural shift, and its implications for the Indian film industry. In the pre-pandemic era, the top 10 typically contributed 28-30% of the annual domestic box office. Post-pandemic, this climbed sharply to around 40% and stabilised at that level for three consecutive years. The widening gap between large-scale event films and the rest of the slate increasingly appeared a structural fact rather than a cyclical trend.
Against this backdrop, 2025 presents a fascinating counterpoint. This naturally raises a critical question: Is the box office divide between big and small films finally narrowing? Is 2025 an aberration, or does it indicate a meaningful resurgence of the long tail, and, by extension, a healthier theatrical ecosystem?
The Long Tail Resurgence: At a percentage level, the shift is clear. The contribution of non–top 10 films has risen from 59% in 2024 to 67% in 2025. In absolute terms, the story is even stronger. Gross box office from non–top 10 films grew from ₹6,981 Cr in 2024 to ₹8,975 Cr in 2025, a 29% year-on-year increase. This is not a marginal improvement; it signals expansion in scale. Further reinforcing this shift is the widening base of successful films. In 2025, 37 films crossed ₹100 crore, compared to only 22 in 2024. The jump reflects a broader spread of commercially-viable theatrical films rather than isolated breakouts.
Ticket pricing adds an important context. Event films, which typically dominate the top 10, command significantly higher average ticket prices. That the long tail has grown meaningfully despite lower ticket pricing strengthens confidence in the underlying health of this performance.
However, it is also true that underperformance of certain tentpoles (such as War 2 and Thamma) reduced top 10 concentration. However, this alone does not explain the scale of the long-tail growth. The trend appears rooted in deeper audience shifts that have been building over the past few years.
Waning Power Of Star Power: One of the most significant shifts is the declining ability of star power alone to guarantee box office outcomes. In recent years, opening-day volatility for traditionally-dependable stars, and stagnation in first-day numbers across the star ecosystem, have made this visible. Viewers are increasingly comfortable with the idea that a non-star-driven film can deliver a complete theatrical experience and cross critical revenue thresholds.
Early signals emerged in the last few years with titles such as ’12th Fail’, ‘Zara Hatke Zara Bachke’, ‘Sam Bahadur’, ‘Munjya’ and ‘Article 370’. In 2025, this trend scaled meaningfully. Films like ‘Chaava’, ‘Saiyaara’, ‘Mahavtar Narsimha’, ‘Tere Ishk Mein’ and ‘Ek Deewane Ki Deewaniyat’ have moderate to negligible star power on display, but have all managed to deliver at the box office.
Expanding Genre Acceptance: Parallel to the decline in star dependence is widening genre openness. Audiences are showing greater willingness to engage with varied cinematic experiences beyond the conventional action-event template. Historical dramas, devotional epics, relationship-driven narratives and socially rooted stories co-exist alongside large-scale commercial entertainers. This breadth at the top typically cascades downward, supporting stronger mid-tier and small-film performance.
Cross-language Structural Broadening: The shift is not confined to one language market. The language-level data reinforces a broader structural pattern rather than isolated regional anomalies. In 2025, top 10 dependence declined across most major language industries, compared to the immediate post-pandemic years. Markets that were previously highly concentrated, including traditionally star-driven industries, have seen a meaningful softening in top-tier reliance.
Telugu cinema, traditionally one of the most star-driven markets, has seen top 10 contribution fall sharply from 70% to 52%, suggesting a stronger and more consistent flow of medium and small-budget successes in 2025. There remain exceptions (like Kannada & Gujarati) where one or two outsized hits continue to skew concentration levels. However, these are increasingly episodic rather than systemic.
Taken together, the language chart supports a central conclusion. The broadening of box office contribution beyond the top 10 reflects a cross-language shift in audience behavior and supply dynamics.
Strategic Implications For The Industry: Event films will continue to play a vital role in drawing infrequent audiences back to cinemas and creating cultural moments. They remain essential to expanding the universe of theatre-goers. However, a reliable long tail is equally critical. Sustained cinema-going behaviour depends on continuity, variety and repeat visits. A healthier distribution of success across titles reduces volatility and builds ecosystem resilience.
Post-pandemic uncertainty led several studios to narrow slates and reduce genre experimentation. The 2025 performance curve offers an opportunity to recalibrate. Confidence in mid-budget and concept-driven theatrical films may return, not only among independent producers but also among larger studios. There is, however, a caveat. Long-tail success is not self-sustaining. It depends on consistent supply aligned with evolving audience tastes. If experimentation stalls or quality weakens, concentration could return quickly.
2025 may not mark the end of the great Indian box office divide. But it does suggest that the gap is no longer widening uncontested. Whether it narrows further will depend on how decisively the supply side responds to this message from the audience.
