The month of March brought with it a packed line up of theatre and OTT releases. From the Ranveer Singh starrer Dhurandhar 2 in Hindi, to Pawan Kalyan’s Telugu action-drama Ustaad Bhagat Singh and the anticipated pan-India Malayalam release Aadu 3: One Last Ride etc; and Subedaar to Aspirants Season 3 on Amazon Prime. With this overwhelming expanse of content becoming available to the viewer, the producers have one more KRA today. In addition to making sure the content hits all the right notes, he/she has to make sure the promotion or marketing of the film is nothing short of a soprano. Because the anticipation today is engineered long before audiences enter cinema halls or turn on their TVs.
Ahmed Aftab Naqvi, Co-founder, GoZoop, points to how certain moments from such campaigns can take on a life of their own when audiences begin to participate in them. “The FA9LA moment (from Dhurandhar Part 1) wasn’t engineered in a boardroom. It was organic, infectious and impossible to ignore. When a film escapes the screen and enters everyday life that organically, the campaign has done its job perfectly,” he says.
And yet something like Saiyarra saw blanket silence before the release of the film and suddenly saw an uptake in social media chatter with seemingly organic posts, Instagram reels, viral scenes, and strong online buzz about the content making the rounds post the launch. To what extent was that organic and what part being the producer’s mastery in clogging up the viewers’ feeds in a never seen before strategy, none can say. So clearly there isn’t a one size fits all approach here.
Growing up in a pre-digital world, film discovery followed a predictable rhythm. Interviews in magazines and television shows, posters outside theatres, trailers screened before another film and the occasional billboard defined the promotional playbook. The build-up was linear and largely one-directional. The digital era has altered that framework entirely. Social media now delivers constant updates, behind-the-scenes clips and teaser drops long before release. Promotions no longer move in phases; they unfold in real time. Influencer collaborations, interactive filters, co-branded merchandise and city-wide installations have become standard elements in a film’s lifecycle.
Promotions today are no longer just an add-on to a film’s release; they are central to how audiences discover and engage with a movie. Naqvi notes that promotions have evolved into a strategic pillar of filmmaking. “A bad film with great marketing still dies by Tuesday. A great film with bad marketing dies on Friday night and nobody notices. Promotions have moved from being a support function to becoming a strategic pillar,” he says.
Internationally acclaimed filmmaker Shekhar Kapur says, “Marketing of films is very important these days, now the trailers have become like tik-tok/ social media videos but it can also harm the film, if you are not careful. You have to make sure that you give out the real message, not gossip as the latter can backfire.” This underlines a growing industry reality: visibility without clarity can dilute positioning.
In some instances, even news cycles become entangled with a film’s promotional window. Around Mardaani 3, social media posts linking the film’s kidnapping-centric theme to claims of over 800 missing girls in Delhi drew attention, with Delhi Police alleging ‘paid promotion’ behind the circulation — an assertion that Yash Raj Films dismissed, stating the reports were unrelated to the film’s marketing.
When cities become canvases, recent campaigns demonstrate how physical spaces are being reimagined as promotional platforms. For Superman which was released last year, a large-scale 3D holographic projection of the character appeared on Mumbai’s Bandra-Worli Sea Link, generating substantial online traction. The activation blurred the line between cinema and cityscape. Audio brand JBL launched ‘The Sound of Greatness’ across over 2,000 retail outlets in India, creating Dolby Atmos-powered experience zones, in-store contests tied to ticket giveaways and co-branded merchandise.
Yogesh Nambiar, Marketing Director, HARMAN India, says, “The collaboration between JBL India and Warner Bros. Discovery Global Consumer Products India is a prime example of how movie marketing has evolved beyond traditional promotions to embrace immersive brand experiences and merchandising. By aligning with the launch of ‘Superman,’ we aimed to create a sensory-rich journey for fans, blending cinematic excitement with high-performance audio. Through our ‘The Sound of Greatness’ campaign, JBL activated over 2,000 retail locations with Dolby Atmos-powered Experience Zones, co-branded merchandise, and engaging fan-first contests.”
He adds, “With over 77 years of sound innovation, JBL stands for power, clarity, and inspiration values that echo the legacy of Superman himself, a timeless symbol of strength, hope, and heroism. This partnership celebrates how storytelling and sound converge to build lifestyle-driven touchpoints, turning products into emotional experiences and creating deeper connections through experiential innovation.”
Fossil India introduced a limited-edition Superman collection featuring watches, wallets and accessories, supported by immersive retail events around Father’s Day in Mumbai, including installations and customisation stations. There was even a massive 3D holographic projection of Superman on Mumbai’s Bandra-Worli Sea Link that turned heads and went viral overnight. The Times of India also celebrated the release with branded content and dedicated coverage, proving how mainstream media, lifestyle brands, and tech are now all part of the same promotional universe.
Even animated properties extended into public life. The Smurfs campaign deployed a Smurfs-themed auto-rickshaw across Mumbai, converting everyday mobility into a brand touchpoint. Mainstream media too has become part of this ecosystem. The Times of India carried branded integrations around the Superman release, underscoring how legacy media and lifestyle brands are now embedded within film marketing networks.
The promotional ecosystem increasingly extends into retail as well. For instance, Kalyan Jewellers unveiled a limited-edition Pushpa-themed jewellery collection featuring Rashmika Mandanna, translating the film’s visual identity into merchandise-led marketing.
Clutter and competition
The strategic push is not accidental. It is driven by volume.
Previously, ‘Pushpa 2’ shattered many records—not just at the box office, but also in the way it was marketed. With over 20 brand collaborations woven seamlessly into its strategy, the film set a new standard for movie promotions. We have come a long way from relying solely on teasers, interviews, and billboards. In today’s digital age, marketing is all about two-way engagement and large-scale, interactive events that captivate audiences.
At a time when most Bollywood projects are failing to attract audiences, some movies, mostly from the southern regions, are unleashing new marketing strategies, and the results are— phenomenal. ‘Pushpa 2’ is a great example of how important good marketing is in today’s time for your movie’s success. Obviously, a lot of onus lies on the script and production, but in this deluge of content, film makers have to be cautious about all aspects of the film, even marketing.
Sanket Kulkarni, Head - Business Development, Ormax Media, brings to our attention that since there is an excess of content, breaking through this clutter has become a critical expectation from marketers. Elucidating it further with numbers updated till early last year, he shares, “Since 2021, over 380 Hindi films have released theatrically, but only a few have managed to earn over `10 crore during their opening weekend. Additionally, over 519 Hindi-language web series and direct-to-OTT films have been launched on streaming platforms since January 2021. This growing volume of content has made the media landscape increasingly cluttered, emphasizing the need for film campaigns to stand out in order to secure a strong opening at the box office.”
In a crowded content ecosystem, campaigns must do more than announce a release—they must build intrigue over time. Naqvi believes that modern promotions are designed to sustain curiosity long before audiences enter theatres. “A well-designed campaign doesn’t just advertise a film, it creates curiosity cycles. It makes people feel like they are already part of the film’s world before they buy a ticket.”
Hail Digital
Rohit Singh, Associate Account Director, White Rivers Media, shares that the Indian film industry has undergone a seismic shift in its approach to marketing, driven by the rise of digital platforms and changing audience preferences. “The pandemic has transformed the movie-watching experience from a collective activity to an individualistic one. Traditional campaigns focused on TV, Radio and Print have now evolved into an integrated mix, where Digital reigns supreme. This transformation mirrors the broader shift in media consumption patterns, with ad spends increasingly directed toward online channels,” he adds.
Traditional media advertising certainly retains its charm and cannot be dismissed lightly. However, digital platforms are increasingly proving to be a more effective alternative. In today’s world, the emphasis is on two-way communication and immersive strategies, both of which are well-supported by digital media. Experts like Rohit Singh highlight how platforms such as Instagram, YouTube, and WhatsApp enable studios to create engaging experiences through trailers, teasers, and interactive content, including mobile wallpapers and gamified campaigns.
OTT has become increasingly important for movies, and the marketing around it is undergoing significant changes. Traditional promotional strategies are being replaced by campaigns that extend across digital platforms, outdoor media and on-ground activations, reflecting how audiences now consume entertainment across multiple screens. Take, for instance, the launch of Prime Video’s series Citadel: Honey Bunny. The iconic Gaiety Galaxy cinema in Mumbai was illuminated in yellow as part of the campaign, while actor Varun Dhawan made a promotional appearance on a customised branded motorcycle.
Netflix’s campaign for Squid Game 2 also demonstrated the scale of modern entertainment marketing. Cities such as Mumbai, Delhi, Bengaluru and Kolkata saw large-scale Out-of-Home (OOH) installations across billboards, metro stations and building facades themed around the series. Netflix also partnered with Swiggy Instamart and Knorr to extend the campaign through branded grocery bags, themed installations and curated food experiences tied to the show.
Digital with its powerful extensions like influencer marketing is taking the lead. Well, it is not surprising that ‘Pushpa 2’ collaborated with some 6,000 odd influencers across, state media reports. Experts believe that influencer collaborations have revolutionised promotional strategies, providing a cost-effective and authentic alternative to traditional platforms like TV and news. As per them, their niche appeal allows filmmakers to target the right audience more effectively. Brand integrations are also increasingly designed for digital virality. Astral Pipes, for instance, collaborated with Shah Rukh Khan-starrer Jawaan to promote its Bondtite adhesive range, blending product storytelling with the film’s marketing push across digital platforms.
According to Naqvi, the nature of film campaigns has fundamentally changed in the last decade. “Ten years ago, the campaign was essentially a countdown to the trailer. Today, the campaign is the content. Audiences expect to be entertained by the marketing itself, not just informed by it. Back then, studios largely controlled the narrative. Today, the audience co-writes it in real time. The studios that win are the ones that hand the audience a thread and let them pull it,” he says.
Streaming platforms have further accelerated this shift. With global entertainment companies investing heavily in original content, marketing strategies now span multiple touchpoints – digital, experiential and merchandising – to sustain audience interest across platforms.
Manjul Wadhwa, Founder and CEO, Anagram Media Labs and Inflyx, says, “Corporate players such as Netflix and Amazon Prime Video have expanded the scope of entertainment marketing. Campaigns today are designed to operate across multiple touchpoints to sustain recall. Most advertising spends continue to move toward digital platforms, particularly social media, because they offer both immediate reach and the potential for virality. Influencer collaborations have also become a consistent component of these campaigns, helping marketers access niche communities and cut through clutter.”
The shift is also being shaped by audiences who now actively participate in the promotional cycle through social media conversations and fan-generated content. Brinda Agrawal, Head of Marketing, Ultra Media & Entertainment Group, says, “The rise of streaming platforms has altered the balance of power between marketers and audiences. Viewers today actively participate in shaping how content is discussed and shared. This has led to the growth of interactive merchandising, digital-first campaigns and experiential activations. From memes to viral trends, audience participation increasingly determines how far a campaign travels beyond its initial release.”
Naqvi argues that the most effective campaigns today are those that invite audiences into the storytelling process. “The best campaigns today are neither loud nor subtle, they are participatory. Audiences don’t want to be sold to; they want something they can share, react to, remix, or debate. The most effective campaigns engineer moments that travel organically across platforms,” he explains. What is driving this shift is the changing behaviour of audiences. Viewers today expect immersive experiences that extend beyond trailers and posters, prompting marketers to design campaigns that engage audiences across platforms.
Experiential Fun
COVID-19 undoubtedly brought significant changes to our consumption patterns, yet many people missed the excitement and social experience of in-person events and promotions. And with Pushpa 2’s success, it is being said that this avenue will be used heavily going forward. Industry professionals believe that strategically leveraging ground events to establish a connection with a market that may lack natural affinity for a particular actor or genre is a smart and effective approach.
Producer Savita Raj Hiremath, who has produced movies like ‘Jhund’ and ‘Khosla Ka Ghosla’, brings to our attention that Bollywood used to rely on unique promotional stunts—like Aamir Khan shaving his head for ‘Ghajini’—but the South has taken things to another level with large-scale, ground-level campaigns. She continues, “To capture the northern market, Pushpa 2’s team launched their trailer in Bihar, drawing a crowd of over 3 lakh – more like a political rally than a film event. They avoided traditional one-on-one interviews and instead focused on mass events, stage shows, and collaborated with over 6,000 local influencers. This direct engagement tapped into people’s desire for real-world experiences, moving beyond the ‘black screens’ they have grown tired of.”
Similarly, Director Fellini TP, who has directed Malayalam movies like Ottu and Nizhal, reckons that the avenue of on-ground activations is becoming increasingly important. He adds, “While most of the promotions are happening through Digital in today’s time, on-ground promotions break the screens and barriers to bring the fans closer to the cast. In Kerala, malls and colleges are the prime spots for such events, and many times, even teasers and songs are launched at these locations to create more engagement.”
Brand Collaborations and Merchandising
Other than the usual suspects—Digital plus influencer marketing, on-ground activities, and traditional medium promotions—there is another space that is actively being used by the movie makers today, which is merchandising. Movies have been partnering with brands for collaborations and integrations for quite some time now. However, the process of collectively coming up with merchandise is relatively new in India. Merchandising has become a powerful tool for extending a film’s footprint. Experts observe that it not only boosts revenue but also deepens fan engagement, creating communities around films. The film Baby John also employed a mix of traditional and contemporary marketing strategies, including brand integrations and multi-city promotional tours involving actor Varun Dhawan.
Naqvi, highlights that merchandising has become a dynamic force in movie marketing, seamlessly blending revenue generation with brand storytelling. “By transforming cinematic themes into tangible products, it allows fans to carry a piece of the movie into their daily lives, fostering a deeper emotional connection. These initiatives not only amplify a film’s cultural impact but also build enduring loyalty, turning viewers into lifelong ambassadors of the movie’s universe,” he adds.
Collaborating with brands not only extends a film’s reach but also generates significant revenue. In today’s climate of tight budgets, such partnerships and integrations prove incredibly valuable. According to industry experts, Pushpa 2 earned over `100 crore through brand collaborations alone. Furthermore, it also observed that many of the on-ground events are also supported by the brands.
Campaigns are also being structured in phases, combining pre-release visibility with post-release advocacy. Shradha Agarwal, Co-founder and Global CEO, Grapes Worldwide, says, “Entertainment marketing today operates in two stages. The first focuses on driving visibility through influencer collaborations, digital billboards and on-ground activations before release. The second stage begins once the content is available, when campaigns aim to build advocacy and word of mouth. When merchandising, influencer storytelling and outdoor advertising are used in this phase, they help sustain engagement and extend the life of the campaign.”
Adding on to it, Savita Raj Hiremath voices, “Brands play a crucial role in film promotion. When they sponsor a movie, their involvement becomes an integral part of the film’s marketing campaign. For example, if a jewellery brand is featured in ‘Pushpa 2’, they will highlight the partnership through billboards, in-store displays, and nationwide campaigns. With multiple sponsors contributing to the budget, the film enjoys enhanced promotion at a fraction of the cost. A Rs 2 crore investment by each brand can collectively generate marketing worth Rs 14 crore, benefiting the film significantly.”
Movie as a brand
We have discussed at length the various new and traditional channels that filmmakers are leveraging for promotions. However, the way movies are packaged and how the stars are positioned also play a crucial role in enhancing their overall appeal. Large franchises like ‘Avengers’ have demonstrated remarkable success, and now Indian filmmakers are also beginning to explore similar approaches.
Harikrishnan Pillai, CEO and Co-founder, TheSmallBigIdea, believes that it’s an era of IPs in Indian movie space. He says further, “’Pushpa’ is an IP that promises return; the creators have to work to expand the possibilities of ‘how much’. Allu Arjun as Pushpa or Ajay Devgn as Singham is the IP that is in the spotlight. Actors, new or old, need to understand that working on the individual brand is as important as working on the film at large. Successful movies will be a combination of actor-character-romantic storyline, and all of it has to exist in unison. Next year, we will see a very big breakthrough in people dropping templatised ways of movie marketing. Most intelligent creators will understand the need to build brands around cinema and artists.”
Ad spends and Improvements
In today’s world, there are countless ways to promote a movie. With an abundance of content available, especially online, it’s crucial to position and market a film effectively. Brand collaborations have also become a significant trend, providing filmmakers with additional funding to enhance their promotional efforts. Which is why ad spends are also shooting up.
Harikrishnan Pillai remarks that marketing budgets for movies can vary widely, ranging from Rs 80 to 90 lakh to as high as Rs 15 to 20 crore, depending on factors like genre, target audience, and production budget.
When it comes to budgets of brand collaborations, Shivakant Menon, Creative Director, Decision Pinnacle, states that these brand collaborations can fetch brands somewhere between Rs 15 lakhs and Rs 2 crores or even higher, depending on factors such as scope, duration, and the variations involved. But he, like many other experts, has some reservations on this.
He adds, “Movie marketing now revolves around Instagram-friendly content, with the reach of actors, influencers, and brands driving a shift to digital platforms. Unlike before, when marketing complemented the story, films now include product-focused shots designed for reels, disrupting narrative flow. This growing trend sees marketing shaping scripts to prioritise product placements, often at the cost of storytelling coherence.”
As movie marketing continues to evolve, it’s clear that creativity and connection are the keys to success. Digital platforms, influencer collaborations and on-ground events have reshaped the game, but there’s still a place for the magic of traditional campaigns. The challenge now is to strike a balance—keeping the storytelling at the heart of it all while embracing new ways to engage audiences. At its best, marketing doesn’t just promote a movie; it becomes part of the story.
