Trade reports and early estimates confirm that most films struggled to make an impact, with combined fresh releases generating modest numbers in a highly competitive May calendar already crowded with Hollywood tentpoles and ongoing biggies.

Leading the Hindi front was Mudassar Aziz’s Pati Patni Aur Woh Do, the spiritual sequel to the 2019 hit. Starring Ayushmann Khurrana alongside Sara Ali Khan, Wamiqa Gabbi, Rakul Preet Singh, and a strong supporting cast, the film opened to approximately Rs.3.85 crore net on its first day. While not a complete disaster, this figure fell significantly short of expectations for a film with such bankable leads, especially during the summer vacation period. Occupancy remained low at 11-15% in most shows, indicating that audiences were simply not excited enough to turn up in big numbers right from the morning.

Even more underwhelming was Aakhri Sawal, the political-courtroom drama featuring Sanjay Dutt. The film, which had inherent buzz potential given its high-stakes moral and historical themes, managed only around Rs.0.4 to 0.5 crore net on Friday. With minimal advance bookings and single-digit occupancy in many theatres, it emerged as one of the weakest openers for a Sanjay Dutt vehicle in recent times.

The regional segment fared no better. The two Marathi releases; Baapya, featuring Girish Kulkarni and Rajshri Deshpande in a relatable family drama, and Picture Boyz, a light-hearted youth ensemble, along with a couple of smaller titles, registered virtually negligible collections. Combined first-day business for these Marathi films hovered in the low lakhs, with exhibitors in Maharashtra reporting almost zero pre-release inquiries or footfall. In a market where even modest Marathi films now need strong visibility to cross the Rs.1-2 crore mark, these titles remained almost invisible to their core audience.

The one notable exception in this otherwise dull weekend was Suriya’s Tamil actioner Karuppu. Despite facing significant last-minute production and financial hurdles that led to several morning shows being cancelled, the film still managed a respectable Rs. 14.4 crore net in India on day one. Fan-driven bookings and Suriya’s massive star pull helped create evening and night surges, particularly in Tamil Nadu, proving that strong organic connect can still deliver results even under pressure.

The common thread running through almost every underperforming release is a glaring lack of aggressive and innovative marketing. In today’s fragmented attention economy dominated by short-form videos, influencers, and social media, simply relying on star power and hoping for walk-ins has become a risky gamble. Pati Patni Aur Woh Do’ saw only a teaser trailer and a few posters released weeks in advance, with almost no sustained campaign, no city tours, no viral challenges, no brand tie-ups that could have played up its modern relationship comedy theme. Ayushmann’s usually vibrant digital presence was notably quiet on this project.

Similarly, Aakhri Sawal suffered from minimal visibility. A handful of cryptic stills and a single press note were insufficient to ignite discussions around its politically charged courtroom narrative. There were no targeted interviews, no youth outreach programs, and no attempt to stoke debates that could have brought audiences into theatres.

The Marathi films were perhaps the biggest victims of this marketing vacuum. Neither Baapya nor Picture Boyz had any meaningful digital amplification, college activations in key cities like Pune and Mumbai, or collaborations with popular local creators. In an era where regional cinema increasingly depends on smart social media strategies and local buzz-building, these films simply failed to reach their target viewers.
Karuppu stands out precisely because it didn’t completely rely on traditional marketing machinery. While it too faced challenges, Suriya’s established fan base and the organic excitement around his action-packed return created enough word-of-mouth momentum and pre-booking interest to salvage a decent opening.

This weekend serves as yet another reminder that in 2026’s hyper-competitive theatrical market, a great cast without a compelling visibility plan is like a star shining in an empty theatre, brilliant but unseen. As theatre owners watch nervously and producers reconsider mid-budget projects, the message is loud and clear: marketing is no longer an afterthought. It is the oxygen that turns star power into actual box office muscle. Without it, even the most promising releases risk fading into quiet disappointment.