Hindi cinema’s half-year mark: From macho myths to historical fiction and a flicker of hope!

As Bollywood battles a creative crisis, the first half of 2025 reveals a landscape that seems to be torn between formulaic hero worship, revisionist history, and a few surprising gems that hint at a brighter cinematic future.

There’s been a lot of noisy chatter around Hindi cinema lately. From accusations of a box office slump to claims that Bollywood has “lost the plot,” much of it, frankly, isn't without reason. Every other day, there’s news of big-budget projects being shelved or crew members struggling to find consistent work. Conversations are emerging about how scripts are now tailored to hold the attention of a distracted audience or how three-hour films mimic the pacing of Reels to keep viewers hooked. The industry seems to be pandering to an audience that doesn’t quite know what it wants half the time, streaming forgettable fare on OTT while demanding only grandeur and spectacle in theatres.

Since the pandemic, these truly might just be the darkest days for Hindi cinema. Many filmmakers have openly said that until decision-makers stop playing it safe and start greenlighting projects outside the formulaic loop, this slump will persist. The proof of that reality is echoed by box offices whose fallen down numbers tells its own story and so do theatres that now re-release classic hits just to tap into nostalgia and fill seats. But if we look at just the past six months of 2025, a familiar pattern emerges. Films have largely followed two routes - the glorification of the macho hero or the repackaging of history through a hyper-nationalist lens.

We saw Shahid Kapoor in Deva, Salman Khan in Sikandar, and Sunny Deol in Jaat, each playing men who save the day, often in service of the larger-than-life personas they’ve previously cultivated. Deva tried to ride the Kabir Singh wave again while Sikandar and Jaat stuck to the Jawan-style action formula -punches, patriotism, and one-liners to bring back these action stars onscreen. Raid 2 somewhat stood out in all of this, still very much in the zone of legacy roles, but with a more focused approach to storytelling. It wasn't the most effective attempt yet a minor relief in a desert of exhausting sameness. Even The Diplomat felt more considered than most in this overworked category.

Parallel to this was the wave of historical fiction. Chhaava was the standout, stirring up extremely strong and much divided national conversations and reactions. Other films like Sky Force, Kesari Chapter 2, and Emergency followed, reimagining chapters of history with creative liberties that blurred fact and fiction. These weren’t documentaries retelling real tales; they were dramas serving up facts with seasoning of sentiment. But the pattern showed its flaws. Many films exposed their biases and blind spots, especially as the CBFC was accused of inconsistent censorship where films like Phule, in the same category, faced cuts while others, who aligned more neatly with dominant narratives, sailed through untouched. What stood out here was how a no noise film like Ground Zero, with its careful approach and deliberate depiction, worked despite unfortunate timing with a real-world incident in Kashmir.

Meanwhile, there were some titles that went viral for all the wrong reasons. Loveyapa, a Love Today remake and Nadaaniyan, a millennial-era Dharma-style romance were pop culture moments as they were trolled relentlessly for various reasons stemming from nepotism, cheap aesthetics to the sheer laziness of their filmmaking craft. The latest to join this list is Housefull 5, an emsemble comedy being called out publicly for its skewered, outdated and misogynistic gaze. And of course there were a few films that released which were more "OTT-grade" films masquerading as theatrical releases. Like Bhool Chuk Maaf, Mere Husband Ki Biwi, Jewel Thief - The Heist Begins, Hisaab Barabar. Each one felt like something you’d have on in the background while folding laundry, instead of cinema that's meant for the big screen which is why two of them even opted for streaming releases instead of a theatrical one.

Also Read: The vanishing act of the Hindi film hero is Bollywood's biggest silent tragedy!

Though one cannot say that everything was dismal so far. There were some quieter, more heartfelt surprises like Sweet Dreams, The Storyteller, and Be Happy that may not have been masterpieces, but they offered gentle storytelling and charm. And then came films that reminded us why we fell in love with cinema in the first place. Something like The Mehta Boys, Crazxy, Superboys of Malegaon, Mrs., and the recent Stolen. These weren’t just good films, ode to cinema or necessary remakes, they were emotional avalanches, tapping into something so deep and raw that they reminded us of the true power of cinema that lies in its honest storytelling without the worry of the perception. It’s only been six months into 2025; what started as a bleak year for Hindi cinema is beginning to take a tentative turn. Films like Sitaare Zameen Par and Metro In Dino are giving some hope with their willingness to blend mass appeal with emotional depth and hint at a soft shift in direction with their releases. 

As someone who grew up on obsessively consuming Bollywood - dancing to its music, mouthing its dialogues, feeling its emotional crescendos - I hope the industry can take this moment to pause and reflect on where they are going wrong. It’s time to stop chasing sentiments, algorithms and running trends and start trusting instinct. Give us stories worth watching. Take risks. Ditch the template. After all, cinema must rise above its audience. That's why we look up at the screen, not scroll past it - something to ponder on. 

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