Cinemas set to cash in on Sitaare Zameen Par

Sitaare Zameen Par is now in theatres, but the buzz began much earlier. The film carries a touch of nostalgia for those who grew up watching Taare Zameen Par, while also standing on its own as the official remake of the Spanish film Campeones. Adding to the conversation was actor and producer Aamir Khan’s firm stand against early OTT releases. By choosing a theatrical-first strategy, Khan reportedly turned down an OTT deal worth over Rs 100 crore. 

With an OTT release pushed at least six months ahead, Sitaare Zameen Par is hoping to go big at cinemas, and brands are paying close attention.

According to UFO Moviez, over 150 corporate and regional brands across more than 10 categories, including FMCG, Retail, BFSI, Durables and Wellness, have been onboarded for the movie’s cinema advertising inventory. Of these, at least 30 are big-ticket brands, states the in-cinema advertising platform that manages ad inventory for about 40% of screens in India. Cinema-goers can expect to see prominent brands such as Meta, Everest Masala, Federal Bank, Tata Motors, Airtel, Adani, Vijay Sales and Siyaram featured before the screening begins and during the interval.

“Many brands with family and children-focused offerings have come on board, seeing strong alignment with the film’s theme and audience, and more are expected to join once they see the movie performing well,” says Sachiin Guptaa, Country Head, UFO Moviez India Limited.

He adds, “We are positioning Sitaare Zameen Par as a key emotional and family-centric release, using it to showcase cinema’s power as a clutter-free, high-impact storytelling platform. Through contextual, kid-parent-focused innovations and curated packages, we’re helping brands connect with highly engaged audiences across India.”

Cinema culture fuels cinema advertising

As Sitaare Zameen Par lights up the big screen, it’s doing more than drawing crowds. It’s reigniting faith in the theatrical-first model, say industry observers. The film’s emotional resonance and star power have come together to create a cultural moment. It’s making a strong case for why cinema still matters, especially for advertisers. 

“Sitaare Zameen Par proves that star-driven theatrical releases can still create cultural moments that OTT can’t replicate. Based on the advance bookings, we’re seeing a clear shift back to a theatrical-first strategy. OTT will remain relevant, but for big films, cinemas are reclaiming their spot as the primary launchpad for high-impact storytelling,” shares Veena Sequeira, Vice President Sales and Marketing Head, Miraj Entertainment Ltd.

She adds, “We've observed increased traction from FMCG, BFSI, and retail brands. The film’s reach and emotional connect have made it a magnet for advertisers looking to engage with a captive, diverse audience. It’s early days, but the momentum is promising and growing.”

Further, according to Gautam Dutta, CEO – Revenue & Operations, PVR INOX Limited, the exclusive and extended theatrical run of Sitaare Zameen Par is driving a clear shift in brand behaviour. “We’re seeing advertisers move beyond short-term visibility to longer, experience-led campaigns. For family-oriented films with strong emotional appeal, like this one, brands are leveraging the captive cinema environment to build deeper engagement through sampling, lead generation, and storytelling touchpoints that go beyond the screen,” he says.

He adds, “We’re witnessing a healthy pipeline of brands like Longines, Jaguar and OnePlus keen to tap into the emotional and collective power of cinema with campaigns that run in sync with the film’s sustained theatrical journey.”

Decoding the cinema math

In the case of Sitaare Zameen Par, by rejecting an early OTT release, Aamir Khan reportedly let go of upwards of Rs 100 crore. Passion for theatres aside, do producers have enough incentive to follow suit? 

“If you were to look at the average revenue for a producer per eyeball on streaming and compare it to the revenue that comes from a person who watches the movie in a theatre, the latter is disproportionately more profitable,” says Kamal Gianchandani, President, Multiplex Association of India.

He adds, “By delaying streaming or opting out of it, you're guaranteeing a longer run in theatres. You're encouraging more customers, more audiences, to come and watch the film in theatres, and that's more profitable for the producers.”

Further, he breaks down the math to illustrate the revenue gap for producers: An average ticket price in a theatre is about Rs 250. After all the cuts, the revenue that goes to the producer per eyeball is around Rs 125. On streaming platforms, where crores of people may watch a film, the revenue per eyeball drops to Rs 15 to Rs 20.

Delaying a film’s release on OTT also boosts footfalls, increasing ad revenue in theatres. But that’s a secondary impact, says Gianchandani. 

Focusing on how increased revenue for producers and exhibitors can lead to a healthier, more profitable ecosystem, he emphasises that this could result in more theatres across the country, which in turn boosts overall industry revenue. “If footfalls and attendance go up in theatres, it creates a very positive cycle for the entire industry,” he highlights.

Do some movies belong in theatres and others on OTT? Gianchandani strongly refutes this idea. “We believe that every film has a place in theatres. We don’t subscribe to the notion that one film is meant for theatres and another isn’t.”

News