Token release: Why small films with near-zero collections are flooding theatres

The past few weeks have seen a horde of releases flood cinemas with limited showcasing and negligible marketing and promotions, translating into nearly zero footfall and box office collections.

Films such as Mayasabha, Rahu Ketu, and One Two Cha Cha Chaa have been given ‘token’ theatrical releases in low-traffic morning or afternoon slots. These formal screenings are a strategic necessity as streaming platforms now mandate a theatrical run as a prerequisite for any OTT sale.

Theatre owners said a brief cinema run can help a film gain some legitimacy and qualify for acquisitions by streaming platforms even though audiences are barely even aware of them. Despite the success of some small- and mid-budget films such as 12th Fail and Bhool Chuk Maaf, the number of such token releases has risen exponentially over the past few years.

Bhuvanesh Mendiratta, managing director of multiplex chain Miraj Entertainment Ltd, said, “Many OTT platforms and satellite channels insist on a theatrical release, even a limited one, before buying a film. A short theatre run helps the film clear censorship, adds perceived legitimacy, and unlocks these backend deals.”

However, trade experts said producers often rush films into crowded theatrical windows simply to trigger their contractual OTT release dates, which usually fall four to eight weeks later. However, this strategy frequently backfires. High multiplex ticket prices and a lack of marketing result in such poor visibility that these films struggle to secure lucrative streaming deals at all.

Diamonds in the rough

That said, not all small releases are only about OTT, theatre owners are quick to point out. Sometimes, small but well-made films don’t get enough shows because bigger titles are occupying most screens. If these smaller films get strong word-of-mouth recommendations and audience traction during their limited runs, they can be given extended runs. So while the token release strategy works for some producers, there are also genuinely good films that just need the right window and support to break through, exhibitors said.

Devang Sampat, managing director, Cinépolis India, said, “Mid-budget films sometimes release alongside tentpoles and compete for screens and audience attention in a crowded market. A modest opening does not reflect the quality or significance of the content. It reflects the reality of release timing, marketing and competition.” He added that some of the most celebrated films of recent years found their full audience after their theatrical run. Screen allocation is demand-led and responds to audience interest, but a theatrical release itself has value in establishing a film’s identity, Sampat said.

Ashutosh Agarwal, owner of Star World Cinemas in Uttar Pradesh, said, “Ticket prices are rising, so if there is a choice, families will always throng the bigger film even though small-budget movies found favour around 2018-19.” This has changed with the OTT explosion during covid, he added. But considering there is some money and effort required even for the smallest releases, they should consider releasing in dull periods, he said. “A big release takes up two to three weeks. But all exhibitors prefer to have gaps between such films and if the smaller titles can arrive without clashing with them, that would be a good plan,” Agarwal added.