The year 2024 proved to be a challenging one for mainstream Bollywood, with big-budget spectacles largely failing to connect with audiences. If not for the pan-Indian tsunami of Allu Arjun's "Pushpa 2: The Rule," releasing in Telugu, Hindi, Tamil, Kannada, Malayalam, and Bengali, the story for commercial giants would have been grim. The cinematic landscape was instead defined by the surprising success of horror-comedies, impactful small films, and high-quality digital content on OTT platforms.
The Mainstream Misfires
Major studio offerings struggled to find their footing. "Bhool Bhulaiyaa 3," directed by Anees Bazmee and featuring Kartik Aaryan, Tripti Dimri, Madhuri Dixit, and Tabu, failed to recapture the magic of its predecessor, despite the return of the beloved ghost Monjulika. Similarly, "Singham Again" felt like a tired rehash of Rohit Shetty's cop universe formula. The formidable star cast of Ajay Devgn, Deepika Padukone as Lady Singham, Ranveer Singh, Kareena Kapoor Khan, and Arjun Kapoor could not inject fresh life into the franchise, signaling audience fatigue with repetitive tropes.
The Horror-Comedy Saviors
In stark contrast, the horror-comedy genre delivered consistent box office wins. Amar Kaushik's "Stree 2" was a major hit, successfully bringing back Shraddha Kapoor, Rajkummar Rao, Aparshakti Khurrana, Abhishek Banerjee, and Pankaj Tripathi to expand its quirky universe. Maddock Films scored another win with Aditya Sarpotdar's "Munjya," a supernatural tale starring Abhay Verma and Suhas Joshi. Its fresh ensemble and picturesque Konkan settings offered a welcome change, proving that novelty within a familiar framework could work wonders.
Small Films with Big Hearts
Beyond horror, smaller narratives carved a special place. Kiran Rao's "Laapataa Ladies" charmed viewers with its grounded fairy-tale of swapped brides, well-meaning cops, and resourceful women. It found a loyal audience in theatres and gained a second life upon its Netflix release. The year was also marked by prestigious festival victories. Payal Kapadia's "All We Imagine As Light" made history by winning the Grand Prix at the Cannes Film Festival, the first Indian film in 30 years to do so, powered by stellar performances from Kani Kusruti, Divya Prabha, and Chhaya Kadam. Shuchi Talati's "Girls Will Be Girls" was a critically acclaimed coming-of-age story where both the teenage protagonist Mira (Preeti Panigrahi) and her mother (Kani Kusruti) underwent profound personal growth.
Imtiaz Ali returned to form with the biopic "Amar Singh Chamkila," featuring a brilliant Diljit Dosanjh as the controversial Punjabi folk singer. Parineeti Chopra shone as his wife and singing partner, making it one of the year's standout films. For pure, relentless action, Nikhil Nagesh Bhat's "Kill" stood out as a brutal, South Korean-inspired thriller where Lakshya's commando battles an army of thugs on a train to save his love (Tanya Maniktala).
OTT Platforms: The Home of High-Stakes Drama
Television screens were dominated by gripping series. Richie Mehta's "Poacher" was a masterful investigative drama starring Nimisha Sajayan, Roshan Mathew, and Dibyendu Bhattacharya, exposing the grim networks of ivory poaching. Jai Mehta's "Lootere" offered a high-octane hijack drama on the high seas, featuring Rajat Kapoor and Vivek Gomber amidst Somali pirates. Anubhav Sinha's "IC 814: The Kandahar Hijack" was a tense retelling of the historic event, with Vijay Varma delivering a powerful performance as the plane's captain, supported by a strong cast including Naseeruddin Shah, Pankaj Kapur, and Arvind Swamy.
In summary, 2024 demonstrated a clear shift in Indian viewership. While the traditional Bollywood formula sputtered, audiences wholeheartedly embraced genre films with fresh execution, authentic storytelling from indie creators, and the sophisticated, long-form narratives offered by OTT platforms. The year belonged to the underdogs and the innovators.
