Many got to rekindle their childhood/teenage crush on Hrithik Roshan when his debut film 'Kaho Na…Pyaar Hai' was re-released in January 2025. The film broke all the records when it initially released in January 2000, 25 years ago - including becoming the second highest-grossing Bollywood film of 2000 after 'Mohabbatein', winning 92 awards and being included into the Guinness World Records (2002) and Limca Book of Records for being a feature film with the most awards. Hrithik Roshan was dubbed an overnight superstar, and the craze to know him became known as 'Hrithik Mania.'

Many such films followed suit. Is it because Bollywood is in disarray? Or is it because COVID-19 made people realise that entertainment of 3 minutes vs 3 hours is also sufficient? Several studio executives have admitted that they can no longer figure out what audiences will like. After a phase of remakes, love-triangle trope, slow-mo walks, dull action films, ee-releasing old Bollywood films in movie theatres is the new trend which started as nostalgia where old hits were rereleased in theatres on the anniversary of their original release or were limited to timeless masterpieces, but their success seems to have made way for other films to re-release without any anniversary or event.

Moreover, movies which didn’t do well when they were initially released have now developed a cult following due to scenes being played on Shorts or Reels. Most recent examples of these re-releases, such as Sanam Teri Kasam, Tumbbad, Laila Majnu, Rockstar, and Gangs of Wasseypur, have performed well at the box office.

Producer Guneet Monga added that re-releases have a different market altogether. They are not hindering the box office collections of new films and are watched by fans inspired by nostalgia. Ace filmmaker Imtiaz Ali had two successful re-releases in theatres in the form of 'Laila Majnu' and 'Rockstar'. He said that re-releases are working in favour of cinema, which can be enjoyed on the screen it was made for, at any point in time.

Meanwhile, producer-director Sanjay Gupta stated that theatres have no material and are desperate to show something, as they don't have enough content to sustain the audience, resulting in the re-releases of older popular films. According to Girish Johar, producer and film trade expert, he believes it's a bit of both. Audiences are nostalgic about the re-releases, and theatres are treating it as a medium to make some money.

Fans are mostly thrilled to see their old favourites making a comeback. It begs the interesting question of whether the trend is more a result of nostalgia or an alternative to the active lull in the theatres. This article explores this exact question.

Nostalgia Marketing

One of the biggest factors driving the revival of Bollywood classic films is marketing nostalgia. This strategy taps into emotional connections with specific movies, songs, dialogues, and characters from people's past. For many people, films like Hum Aapke Hain Koun..! and Kabhi Khushi Kabhie Gham do represent not only entertainment but also cherished memories of family outings, childhood innocence, or adolescent crushes. Re-releasing these films allows marketers to reignite those emotions, compelling audiences to return to theatres for a walk down memory lane.

Nostalgia marketing has proven to be incredibly effective across industries, as cinema is no exception. During a period when many people are overwhelmed by new content, the comfort of the familiar provides a feeling of emotional security. It turns into a method for reliving moments. It also becomes a scheme to recapture those moments that can feel lost to time. Furthermore, the theatre setting is helpful to this sentimentality, and it recreates the original experience; streaming platforms cannot do this.

Studios and cinema chains often capitalise on this by launching thematic campaigns, retro posters, and social media promotions that trigger collective memories and shared cultural experiences. This emotional pull frequently translates into real-world action, drawing in not merely the original viewers but also newer audiences curious about just what made these films legendary. Nostalgia, therefore, exists not just as a sentimental tool but as a powerful marketing strategy for bridging generations and sustaining long-term viewer engagement.

As a result, nostalgia marketing now stands as a foundation in the business case for bringing Bollywood classics back to theatres.

Post-Pandemic Cinema Revival

COVID-19 had a profound impact on the global entertainment industry, and the same was true for the Indian film industry. Theatres were closed for extended periods, as film releases were postponed or moved to OTT platforms, so the customary theatrical experience suffered significantly. Cinemas faced a twofold challenge in the aftermath of their reopening. They also had a limited pipeline of new films, along with a hesitant audience.

In this context, watching classic Bollywood films was a valuable and helpful answer. Theatres needed some content that might draw a particular audience without any financial risk of a full-fledged new release. Classic films became ideal candidates, with their proven track records and built-in fan bases. These re-releases required minimal promotional expenditure and offered decent returns, especially when packaged as special events or nostalgic experiences. Audiences, sharp to return to normalcy and craving that collective experience of movie-watching, found solace in revisiting familiar classics. Furthermore, these particular films provided some sense of comfort and familiarity throughout uncertain times.

Theatres, in turn, regained some footfall and began to rebuild their rapport with audiences. This trend also helps maintain the relevance of big-screen viewing in an era increasingly dominated by digital consumption. Therefore, what started as a pandemic-induced necessity has since become a calculated revival strategy. The post-pandemic context explains both the return of old films and cinema's adaptable ecosystem as it creatively reconnects with viewers. Thus, the re-release of certain classic Bollywood films has played a crucial role in the broader effort to revive and reimagine the theatre-going experience in a post-COVID world.

Celebrating Milestones and Anniversaries

One calculated reason for reviving old Bollywood films is just the opportunity for us to celebrate cinematic milestones. Anniversaries of nearly 10, 20, 25, or even 50 years following a film's release provide a ready-made marketing hook. These milestones offer the perfect opportunity to reintroduce a movie to the audience with a sense of importance and grandeur.

Re-releasing the film becomes a central part of the celebration. For instance, at the 25th anniversary of Dilwale Dulhania Le Jayenge, there were nationwide screenings, cast messages, and fan contests. These moments stir nostalgia, plus they introduce timeless stories to new audiences. Likewise, people anticipate a grand celebration for the 50th anniversary of Sholay. Audiences have a reason to come together due to these milestones, and these give them a chance to celebrate films that have impacted their lives.

Casts of the original creative team—often at screenings or even the launch of the re-release—enhance both the nostalgia and marketing. They also usually include short-range spots, previously unseen footage, and director's commentary, making the re-release feel like more than a screening, and more like a cultural event. In this structured way, film re-releases allow the exhibitor to honour the īlm's legacy while using the event as a revenue generator and an opportunity to engage with an audience of potential cinephiles.

The growing popularity of re-releases has also been fueled by an established history of similar initiatives, e.g., the Film Heritage Foundation and PVR's 2022 celebration of Amitabh Bachchan's 80th birthday and the re-release of classics like Deewar and Amar Akbar Anthony. This measurably positive venture also served as a platform for continued build-up and more re-releases, such as Dev Anand classiīcs for his 100th birth anniversary.

The movie Taal, which starred Aishwarya Rai, Anil Kapoor, and Akshaye Khanna, was re-released in theatres on September 27, 2024, marking its 25th anniversary. While Kaho Na…Pyaar Hai was re-released on January 10, 2025, just four days before its original date, January 14, to celebrate its 25th anniversary.

These re-releases generate buzz and excitement around the project, typically resulting in packed houses for shows that sell out. Additionally, the celebratory nature of the event appeals not only to long-time fans but also to younger audiences who want to be involved in a cultural legacy. Studios and theatre chains know that they can create a successful event and plan for it accordingly, often involving the repackaging of the film in a new format, such as remastering the picture or including behind-the-scenes footage.

Just recently, actor Deepika Padukone posted on social media announcing the re-release of her 2015 film 'Piku' in theatres, which featured megastar Amitabh Bachchan and a few scenes from the film. The re-release date, May 9, marks the film's 10th anniversary.

Classics for the New Generations

The re-release of classic Hindi films has a purpose beyond just nostalgia, also introducing a new generation to these cultural artefacts. Many Gen Z and younger millennials have lived their lives in a digital world, being primarily indifferent to media that exists outside of streaming services. For these viewers, films like Pakeezah, Amar Akbar Anthony, or Yeh Jawaani Hai Deewani - while they may have heard of the names or seen memes - might not exist at all. Watching these films in theatres gets these viewers in touch with the pomp, performance, and stories that are typically shown in cinemas.

As a result of this immersive experience, it is also often possible for audiences to gain an appreciation for film history, narrative expectations, and the evolution of Bollywood as a whole. The communal experience of watching a film in a packed theatre (communal laughing, crying, and clapping) adds a layer of richness that is often taken for granted, compared to watching a film on a phone. Furthermore, the younger demographic is becoming more interested in the origins of contemporary cinema and is trying to explore older films as part of a research project to locate meaning.

Theatres and film corporations often augment this experience with Q&A sessions, panel discussions, or carefully curated film festivals to educate and inspire younger audiences. By allowing these discoveries to take place, we not only keep the legacy of these classic films alive but also create a more knowledgeable watching base. In turn, this fosters a bridge between generations and strengthens the cultural fabric needed to unite the Indian film landscape. The resurrection of older films is thus not merely about remembering, but also about educating, inspiring, and passing down our film heritage to future storytellers and cinephiles in Canada and beyond.

Yesterday's Classics are Controversial Today

There was a time when films could be released in theatres that were either high-concept or simply mass entertainment, or anything in between, and audiences welcomed them. We had more choices and options, and audiences were more evolved and open-minded about the kind of films they watched. At this moment, we are operating from a place of fear and doubt. Fear and doubt are not conducive to creating art. Given the current political climate, a hypersensitive audience with a propensity to take offence, and filmmakers who tend to avoid any subject that might be deemed sensitive or controversial, we are left with only a particular kind of cinema being released in theatres today.

People were acutely shocked and saddened at the same time when Shahid Kapoor told the interviewer that it was highly unlikely that a political thriller like Haider, set in the context of the insurgency and conflict in Kashmir, would be made in today's context. You wonder, if films like Maachis, Gulaal, Newton, Masaan, Kurbaan, Shanghai, Article 15, or PK were made today, would any of them be released in theatres?

OTT Weariness

OTT platforms have transformed the possibilities for content consumption, paving the path for a baffling number of options. All that scrolling has created a desire to find something meaningful or engaging, something similar to what is found in the theatre.

Classic Bollywood films are the best remedy for the immense number of screens. They have value in culture, recognisable patterns, and emotional ties, all while cultivating a space for visual and auditory distraction free from typical home distractions with a partner or family. The theatres took advantage of this by providing a once-in-a-lifetime curatorial experience with classic weekends or retro festival events that allow people to step away from their digital lives.

For many people, a classic like Mughal-e-Azam is much more enjoyable to watch in a lavish theatre than binge-watching anything they may never remember watching. The shift from numerically binging to quality aligns with the revival of past films and affirms the cultural significance of the theatre box office.

Fandom Culture

In addition to co-option, another motivating factor for BOLLYWOOD to re-release old films is the rise and consolidation of fandom. Fan Culture can develop around certain films over time, and movies can attain cult status, becoming symbols of identity, emotion, and lifestyle for their followers. A cult can refer to a group, with the tension between collective behaviour and individuality having a significant impact. Movies such as Dil Chahta Hai, Andaz Apna Apna, and Jo Jeeta Wohi Sikandar have attained almost mythological depth among their followers, and fans often celebrate these films through social watch parties, fan forums, merchandise, memes, role-playing, and more.

The re-release of a cult-classic film in a cinema can then serve as a celebration for fans. These screenings are events for fans rather than a trip to the movies, complete with dress codes, social media challenges, and all the fanfare. The communities involved add a powerful emotional value to the experience. Being in the cinema among a theatre of fellow fans while watching your favourite film stretches the bonds of belonging and passion beyond each individual's experience and behaviour.

This fan-driven excitement commonly translates to ticket sales, making re-releases financially attractive to exhibitors. Moreover, social media has increased this trend, creating "trending" and "viral" screening events. Hence, the theatrical encore is part homage to fans and part exploitation of them for marketing value.

Limited Content Pipeline

During the periodic gaps between new releases, particularly during festivals or exam times, theatres draw on classics to fill those gaps and maintain foot traffic. Distributors and theatre owners often have 'gaps' on their schedules—not only those gaps that occur between their big new releases, but also the festival off-seasons, or the months where less than a handful of blockbusters are planned for the calendar. Lull periods can be difficult from a financial standpoint. Many theatres fill the lulls with the late re-release of popular Bollywood classics. Popular classics have an existing audience and guaranteed returns from established viewers. By contrast to new releases accompanied by considerable risk and unknowns, classics have known commodities and audiences.

Re-releases in downtime provide several benefits: screens filled, customer engagement back in theatres, and regular income streams for the theatre workflow. Distributors, too, stand to benefit, as there is rarely more negotiation regarding rights to a classic film and the sharing of profit margins. This is why dependable titles like Kabhi Khushi Kabhie Gham or Chennai Express can be shown at nearly any time during low-traffic months.

Moreover, such programming allows theatres to present a broader range of movie calendars, helping to reach families, film societies, and older audiences that are probably not attracted to the new action-oriented releases. The timing of these re-releases allows the theatre to plan and keep audiences and activity alive when there are not as many releases.

Longing for Long-lost Music

Under all the pressure to make songs go viral on social media platforms or to market theatre releases, music has suffered a massive loss in our films. We used to have a wider variety of films being made, which in itself created variety in the music composed for films. Someone who grew up listening to Udit Narayan, Alka Yagnik, Kavita Subramaniam, Sonu Nigam, Kumar Sanu, Shaan, and KK in their prime should feel disappointed at how uniform Hindi film music has become.

The primary focus seems to be on releasing a 'banger' track to aid the film's marketing, and a perfect example is the song "Apna Bana Le Remix" from the movie "Mere Husband Ki Biwi". All people remember now is the hook steps, not the film, not even the song, for that matter. Other songs in the movie sound like the composer felt obligated to create songs for an album, but forgot about them and had to compose something else. But now, we have entered an era with an obsession with remixing old Bollywood songs, showing how little originality there is.

After watching a re-released film, many people go to their preferred music streaming service and listen to the album again, which gives them a bit of nostalgia and reignites a fondness for the music.

Affordable Ticket Pricing

A major reason why Bollywood classics are so practical with a re-release is the cheap ticket prices. In comparison to new blockbuster releases, these screenings for older films are usually very affordable. And they are often subsidised or discounted value theatre screenings. Because ticket prices are lower, more students, seniors, and families can attend, as the financial burden of attending a screening is lower compared to new blockbuster films.

The price makes the experience much more favourable for someone simply looking for a casual outing, or a repeat viewing, or an outing with friends and family. Affordability also adds nostalgic value, as it recreates the feeling of "going to the movies like the good old days", when we used to go to the local theatre more often because it was cheaper and more accessible to a broader audience.

Non-recliner seats cost as low as ₹99 and could go up to ₹300, as compared to ₹200 and above for new releases. Even recliner seats, thought to be a premium feature in any theatre, with a food tray or blankets, are priced in a bracket of ₹150-₹300, which costs ₹450 and can stretch up to ₹1,200 for new releases. From a business perspective, while the individual ticket revenue might be lower, the overall gain in volume and concession sales often compensates.

For guests, this represents a fantastic opportunity to see a film on the big screen, which wouldn't ordinarily happen at lower ticket prices. A lower ticket price becomes much more attractive for classic cinema because it democratises accessibility to classic cinema and creates more emotional resonance through audience interactions with films and the medium of cinema itself.

Theatre operators are doing this for occupancy reasons, to get people in during off-peak hours or on weekdays, with little entertainment expense overhead, as it doesn’t cost much more to keep an existing film on the screen for an additional day.

The Takeaway

Re-releasing old films is an attempt to relive some of the most beloved storylines in a time when most new ventures are struggling to find an audience. The compelling narratives, strong scripts, and the overall sense of nostalgia are driving this deluge of re-releases.

The re-releases are not just targeted at older audiences, who might be nostalgic about seeing their former favourites- they are also marketed to younger cinemagoers who are prompted through social media and think that old is gold.

While the re-release of films may mean delayed profits for some filmmakers or nostalgia for us as audiences, the more significant point here is that audiences are open to watching different kinds of movies. There are several films featuring slow-motion walking, thundering background scores, or propaganda masquerading as cinema that they can watch. Each film doesn’t need to make hundreds of crores. However, suppose we classify films lacking a male star who monopolises screen time and delivers punchlines as OTT releases. How will audiences ever ascertain if they enjoy watching a specific genre or style of cinema on the big screen?

Sure, let’s take pleasure in the occasional flashbacks to old films, but why not bring back the elements that made our cinema entertaining, impactful, and worthy of a recliner seat!