Hindi
Bahubali continues to rule the box office as it pushes aside others in third week
The fact that films and cricket remain its dominant entertainers on television was evident when the Zee TV premiere of Dangal on 21 May and the final of the IPL T20 on Sony Max took the toll at the box office.
Last Friday saw the release of two totally different genre films – Hindi Medium and Half Girlfriend.
Hindi Medium is an entertaining family fare that also tackles a social issue relating to the education system in India; showing how every educational institution brands itself as ‘international’ and,while even the poor want their children to get English education, it is gradually going out of their reach. This is a small budget film with not much wasted on artistes while the limited locations help curtail the budget.
Half Girlfriend, on the other hand, is youth oriented romance. It used all the traditional stuff that a love story has been using through the history of storytelling: taming of the shrew, rich vs poor, chamcha friends around and, as a side attraction, it also touches on the Swachh Bharat issue stressing on the need for toilets in mofussil area schools so girl students do not shy away from enrol!ing. Sadly, all these elements were badly and predictably strewn together handled with inept direction.
Of the films released last week, Ram Gopal Varma’s idea of The Godfather, Sarkar 3, backfired yet again. Why is RPG trying to sell the same idea again if it was not accepted the first time? In filmmaking, you can’t be third time lucky with the same stuff!
Of the already running films, only Bahubali (Dubbed-Hindi) is sustaining. It is no secret that no dubbed film has ever done this kind of business while, it is also no secret that no Hindi films has reached such box office height either, be is a Salman Khan or an Aamir Khan starrer despite their being known to break barriers.
Box Office status wise:
*Half Girlfriend opened reasonably well but the word of mouth was mostly against its content. The film collected 29.1 crore over the weekend and may fall short of its target. The price at which its Indian theatrical rights have been sold, the film will need to reach a target of little short of 100 crore.
*Hindi Medium opened to an indifferent response on Friday, a good word of mouth helped the film as it gained on Saturday and Sunday to end its opening weekend with Rs 109 million. It should sail safe.
*Sarkar 3 has been very poor managing to collect barely Rs 82 million in its first week and is a loser.
*Meri Pyaari Bindu, with lesser number of screens compared to Sarkar 3, has been a slow starter but, being a mini budget enterprise, should not offset the producers’ balance sheet. The film collected Rs 86 million.
*Bahubali 2: The Conclusion (Hindi-Dubbed) maintains strong trends as the film collects a whopping Rs 676 million in its third week taking its three week total to Rs 4.495 billion – the highest box office collections ever for a film in the Hindi belt.
Hindi
GUEST COLUMN: Why film libraries & IPs are the new engines of growth
Unlocking value through catalogue strength and IP synergy
MUMBAI:In a media landscape defined by fragmentation, platform proliferation, and ever-evolving audience behavior, the economics of filmmaking are undergoing a fundamental shift. No longer confined to box office performance, a film’s true value is now measured across an extended lifecycle that spans digital platforms, syndication networks, and global markets. As content consumption becomes increasingly non-linear and algorithm-driven, film libraries and intellectual properties (IPs) are emerging as strategic assets, capable of delivering sustained, long-term returns. For Mohan Gopinath, head – bollywood business at Shemaroo Entertainment Ltd., this transformation signals a decisive move from hit-driven models to portfolio-led value creation. In this piece, Gopinath explores how legacy content, when intelligently repurposed and distributed, can unlock recurring revenue streams, why the interplay between catalogue and original IP is critical, and how media companies can build resilient, future-ready entertainment businesses.
For all these years, we thought that a film is successful if it performs well in theatres. There are opening weekend numbers, box office milestones, and distribution footprints that gave a good picture of how the movie has done commercially and also tell us about its cultural impact. However, there are multiple platforms today, always-on content ecosystem, which has caused a shift. Today, the theatrical performance is not the culmination of a film’s journey but merely the beginning of a much longer and more dynamic lifecycle.
Film libraries today are emerging as high-value, constantly evolving assets that deliver sustained returns well beyond initial release cycles. This becomes a point of great advantage for legacy content owners with diverse catalogues, to shape long-term business outcomes.
According to FICCI-EY, the media and entertainment industry of India achieved a valuation of Rs 2.78 trillion in 2025 which is expected to reach Rs 3.3 trillion by 2028 through a compound annual growth rate of approximately 7 per cent and digital media will bring in more than Rs 1 trillion to become the biggest sector which generates about 36 per cent of overall market revenues.
This shift is the expansion of distribution endpoints. We know how satellite television was once the primary secondary window but today, it coexists with YouTube, OTT platforms, Connected TV, and FAST channels. Each of these platforms caters to distinct audience demographics and consumption behaviors, helping content owners to obtain more value from the same asset across multiple formats.
For instance, films that had great reruns, now find continuous engagement across digital platforms. On YouTube, classic Hindi cinema continues to attract significant viewership, reaching audiences across generations and geographies with remarkable consistency. At Shemaroo Entertainment, this is reflected in our film library shaped over decades as part of a long association with Indian entertainment. From classics such as Amar Akbar Anthony to much-loved entertainers like Jab We Met, Welcome, Dhamaal, Phir Hera Pheri, Dhol, Golmaal, and Bhagam Bhag, many of these titles continue finding new audiences while retaining their place in popular memory. Their enduring appeal reflects how culturally resonant stories can continue creating value over time. Similarly, FAST channels have created curated, always-on environments where catalogue content can continue to thrive through star-led and genre-based programming.
This multi-platform approach has very well transformed films into long-tail IP assets which are capable of generating recurring revenue across advertising, subscription, and syndication models.
The evolution of audience behavior is equally important. Nowadays, it’s more important to find what’s more relative than what’s recent as viewers are more influenced by mood, memories, and algorithmic suggestions than by release schedules. Even if a movie was released decades ago, it can trend alongside a newly released movie, if surfaced in the right context. Thoughtful packaging, whether through festival-based playlists, actor-driven collections, or genre clusters, allows catalogue content to remain dynamic and continuously discoverable. Shemaroo Entertainment has built extensive film libraries over decades and its focus has mostly been on recontextualizing content for the consumption of newer environments. This process doesn’t just include digitization and restoration, but also re-packaging of films as per platforms.
Syndication itself has evolved into a key growth driver. In perspective, when looking at the domestic market, curated content packages continue to find strong demand across broadcast and digital platforms. Meanwhile, in the international market, especially in markets like Middle East, North America and Southeast Asia, the appetite for Indian content is opening up new monetization avenues. Here, the ability to package and position catalogue content effectively becomes as important as the content itself.
Importantly, the need to re-package catalogue content does not diminish the role of new content. In fact, originals and fresh IP are essential to sustaining the long-term value of a film library because they act as discovery engines that bring audiences into the ecosystem, while catalogue content drives depth, retention, and repeat engagement.
This interplay between the “new” and the “known” is what defines a robust content strategy today. While new films generate spikes in consumption, catalogue titles offer familiarity and comfort. These are factors that are increasingly valuable in an era of content abundance and decision fatigue. This is also shaping our strategy, drawing value from both a deep catalogue assets and a growing focus on original IPs to strengthen long-term audience engagement and build more predictable revenue streams.
There is growing recognition that long-term value in entertainment will be shaped not only by how intelligently existing content continues to live, travel and find relevance, but also by how consistently new stories are created to renew that ecosystem. In that sense, film libraries and original IP are not parallel bets, but reinforcing engines of growth. For media companies, the opportunity lies in making these two forces work together, because that is increasingly where more resilient and predictable businesses are being shaped.
Note: The views expressed in this article are solely the author’s and do not necessarily reflect our own.
