Indian box office footfall rose 5% in the first half of 2026, reversing three years of decline and stagnation, but the recovery remains patchy and dependent on a handful of Hindi and Marathi films, according to data from media consulting firm Ormax.
According to data from media consulting firm Ormax, 378 million people visited cinemas in January to June, from 362 million last year. Despite the growth, footfall remain below the 400 million-mark recorded in the first half of 2022, when films such as K.G.F: Chapter 2 and RRR drove audiences to theatres. The recovery has also been slate-led with a single outlier, Dhurandhar: The Revenge, alone clocking over 40 million footfall.
“The growth has not been completely uniform. Tier-II and tier-III cities have generally shown stronger and more consistent growth, as cinema remains one of the most affordable and preferred entertainment options in these markets,” said Sameer Munshi, vice-president–operations and F&B, Miraj Entertainment Ltd. “Metros continue to perform well for large event films, premium formats like IMAX and luxury experiences, but audience behaviour there is relatively more selective, given the sheer number of entertainment choices on offer.”
The 5% increase should not be interpreted as uniform, said Rohit Dalmia, chairman and managing director, CineNow, an entertainment financing platform. “The recovery was slate-led rather than industry-wide. Dhurandhar: The Revenge alone contributed nearly 20% of the first-half box office, supported by a steadier flow of Hindi and Marathi successes. Large-scale theatrical positioning, familiar genres and stronger release consistency encouraged audiences to return,” Dalmia said.
Hindi cinema’s share increased from 39% to 44%, while Tamil cinema declined from 17% to 12%, indicating significant variation across language markets and geographies.
That said, many point out overall business in metros still benefits from higher ticket rates but smaller markets need more attention.
Film producer Anand Pandit said affordable ticket pricing and the modernization of single-screen theatres would be key to building more sustainable momentum in tier-II and tier-III cities.
This year, mass-appealing narratives like Raja Shivaji (Marathi), Peddi (Telugu), Karuppu (Tamil), and Drishyam 3 (Malayalam) have driven steady audience turnout in the regional market while big-ticket films in Hindi have done very well across both urban and heartland belts, he said.
Many industry experts are optimistic. Ashish Saksena, chief operating officer -cinemas, BookMyShow, said the platform is witnessing encouraging signs that cinema footfall and consumer frequency are improving.
One of the strongest indicators, he said, is a shift in advance-booking behaviour, with consumers increasingly booking tickets earlier, driven by anticipation around upcoming releases rather than waiting for reviews or word of mouth, which reflects growing confidence in today's theatrical slate, Saksena said.
Films are also sustaining their theatrical runs for longer, he added. Main Vaapas Aaunga, for instance, continued to perform steadily in cinemas several weeks after release, despite audiences knowing it would eventually arrive on OTT. That willingness points to a renewed sense of urgency around theatrical viewing, according to Saksena.
The outlook for the second half of 2026 is also encouraging, as it traditionally benefits from a strong festive and holiday release calendar that drives higher cinema attendance.
Highly anticipated Indian films lined up for the coming months include Ramayana: Part 1, Toxic, King and Love & War, alongside major Hollywood tentpoles including Avengers: Doomsday, Dune: Part Three and The Mandalorian & Grogu, said Gautam Dutta, CEO – revenue and operations, PVR INOX Ltd.
“What gives us confidence is the breadth of the upcoming slate. It spans multiple genres and languages, ensuring there is something for every audience segment across the country. That kind of consistency in the release calendar has historically been one of the strongest drivers of sustained footfalls,” Dutta added.
Lata writes about the media and entertainment industry for Mint, focusing on everything from traditional film and TV to newer areas like video and audio streaming, including the business and regulatory aspects of both. A journalist for over a decade, she has extensively covered relatively underexplored aspects of what is seen as a glamorous business—from the death of single-screen cinemas in small towns to unreasonable star fees and demands eating into film production budgets and eventually inflating ticket rates. She was early to spot what are now established and ongoing trends such as the slowdown in the OTT business and the surge in the popularity of southern movies, which she continues to spotlight. A regular writer of in-depth, long-form features, her best-read work ranges from critical profiles of companies like Netflix, JioHotstar and Prime Video to takes on sexual harassment and mental health in the entertainment industry. She spends a lot of time watching content, particularly the old-school way in movie theatres, to make sure her writing is embedded in on-ground experience, since she believes the best stories often come from the travesties of directly engaging with and paying for the content that she writes on, and not from celebrity tweets, company releases or listings. A graduate of the Columbia School of Journalism, she has also authored a book on the business of entertainment.