The Post-Festival Effect: What Bollywood's Box Office Blues Reveal About Audience Trends Diwali no longer guarantees a hit, but with the right content and timing, Bollywood's next big bounce could be around the corner.

A week after Diwali, the numbers are in and they're not what Bollywood hoped for. In conversation with Entrepreneur India, trade expert and producer Girish Johar explains why the festival that once guaranteed footfalls has lost its punch and why the industry's next big rebound may be just around the corner. He also breaks down why festive releases have struggled to sustain momentum and how content choices are to blame.

For decades, Diwali has been synonymous with big Bollywood blockbusters, films that unite families, light up theatres, and set cash registers ringing. Yet, in recent years, the festival that once guaranteed footfalls seems to have lost some of its magic.

Trade expert and producer Girish Johar believes the issue isn't the timing, it's the content. "I truly believe that the box office during Diwali has huge potential," he says. "In fact, on a daily basis, we have the capacity to touch around ₹75 crore. But we're not able to capitalise on that because of the product offering that we as a fraternity are giving audiences. There's a big booty available, but the content we serve doesn't match that capacity."

Johar points to next year's Ramayana: Part One as a potential game-changer. "I'm sure next year, Ramayana Part One will release on Diwali, and you can take my word for it, big, huge numbers are bound to be achieved," he says confidently.

The Changing Festival Playbook

So what's causing this shift? Are studios exhausting their big films too early, leading to a post-festival slowdown? Johar explains that it's all about strategy and perception.

"All this depends on product to product," he notes. "If the makers feel the film is frontloaded, meaning they believe that the word of mouth or reviews will be mixed, they push for a bigger opening to cash in on holidays and a larger audience base. But if they feel the content is solid, they spend gradually, banking on a longer, stronger run at the box office. It basically depends on the makers' mindset."

Family Audiences Still Drive the Festival Mood

Traditionally, Diwali has been a time for family entertainers, the kind of movies that appeal across generations. Johar believes recent releases haven't fully tapped that sentiment.

"Diwali is a family, entertaining, joyful period," he explains. "Films that cater to all the TGs in the family are mostly appreciated at this point. But if we have a limited TG - like Ek Diwani Ki Deewani, which was a typical mass commercial tier-2, tier-3 film, or Thama, which was a youth-friendly horror comedy, then the audience reach becomes restricted. That's why the films are performing the way they are."

In his view, expectations at the box office can only be met when the content lives up to its promise. "If you're expecting a certain degree of reception, it is purely based on what the content actually delivers," Johar adds.

Looking Ahead: A Grand Comeback Awaits

While some may argue that Bollywood should rethink the Diwali release window altogether, Johar disagrees. "I believe 2026 Diwali will be huge, and 2027 will be even bigger because Ramayana Part One and Part Two are already slated for those years," he says. "Given the size and scale of those films, I'm sure they'll enjoy a mammoth run at the box office. The seriousness level is there, it's all about timing and matching the content."

According to him, exhibitors and producers are already aware that Diwali remains one of the biggest box office windows in India. "That's why the coming two years are already locked with some of the biggest films the country has seen," he points out.

Cricket vs Cinema: The Ongoing Tug of War

But Diwali isn't just about films anymore. With IPL-style tournaments, streaming premieres, and festive TV specials competing for attention, audiences have more choices than ever. Does this affect cinema footfalls?

Johar admits that it does, but only when the film fails to excite viewers. "Yes, I do believe there are other avenues," he says. "Which is why the first point I made about 'content offering' becomes even more crucial. If the film is exciting, audiences will make it their first choice. If it's mildly exciting, then obviously other choices weigh heavier. It all depends on content."

Takeaway: For entrepreneurs and filmmakers alike, the message is clear: success isn't seasonal, it's strategic. The right product-market fit matters as much in cinema as it does in business.