Are sleeper hits putting cinema into OTT mode?

Cinema has long been defined by its first Friday, when opening numbers decide a film’s fate. Sleeper hits are challenging this narrative by growing week on week, much like titles on OTT platforms. Their steady rise is forcing a rethink of how success is measured and whether cinema is moving closer to an OTT-like model. It is also influencing how brands approach cinema advertising. Experts say cautious brands now have a greater incentive to invest in the medium, with the flexibility to make performance-driven decisions as a film builds momentum.

For an anticipated blockbuster like Pushpa 2: The Rule, 50% of the in-cinema advertising was locked in before the film’s release. In contrast, a sleeper hit like Saiyaara recorded a more than 20% increase in brand interest in its second week, reflecting growing confidence in its week-on-week momentum.

“Pushpa had the advantage of being a sequel with massive brand anticipation built months in advance. Saiyaara, on the other hand, became a post-release phenomenon. It wasn't on every radar to begin with, but something about it connected deeply with audiences,” notes. Mayank Sehgal, Associate Vice President, Sales, Qube Cinema Network.

The buzz around Saiyaara, amplified by audience-generated social media content, Sehgal explains, translated into a wave of mid-campaign interest from advertisers who came on board post the launch. The movie, which began with a double-digit count of advertisers in its opening week, later saw big spenders like Meta and Everest come on board for in-cinema advertising despite skipping the first weekend.

He continues, “Unlike many blockbusters, where marketing drives interest, Saiyaara proves that authentic audience energy can drive brand investment. It's a reminder that while sequels may have scale, original, unexpected hits often spark stronger emotional engagement — and that's gold for brands.”

Sustaining the buzz for blockbusters 

Even movies like Pushpa 2: The Rule or, more recently, Coolie and War 2, considered predictable hits, see a week-on-week increase in brand interest after a high-decibel opening weekend. Brands are quick to come on board for cinema advertising, given their confidence in the star cast, and stay for weeks as the films continue to draw crowds. Even in the case of blockbusters, an OTT mode is at play, where the movie becomes bigger over time, and success is no longer defined by just the first Friday (even when the numbers exceed expectations).

“Historically, most advertisers prioritise week one due to the concentrated buzz and high media presence. However, over the last few years, and especially in 2025, we’ve seen a shift in strategy,” shares QCN's Sehgal.

“Big-ticket films like Pushpa, RRR, and Baahubali set the precedent where brands began booking across multiple weeks. Now, that behaviour is becoming more common, especially with films like Saiyaara, where social virality and audience obsession kept the movie in cultural conversations well beyond the opening weekend,” he adds. 

It’s no longer about just the Friday

The shift is also changing movie marketing, where sustained visibility is becoming as important, and at times even more important, than the opening-day buzz. Saiyaara quietly built its presence with minimalistic pre-release promotions, relying on word-of-mouth marketing post-release, and it paid off.  

“The box office race is no longer won in a single weekend. Success grows in steady steps. Campaigns now run the full course, adjusting to every turn in audience interest. Using real-time data, studios can adjust messaging, targeting, and promotional activities to sustain momentum,” says Rohit Singh, Associate Account Director, White Rivers Media. 

It offers opportunities for films to expand their reach and deepen engagement, encouraging steady growth and enhancing overall success without relying solely on early hype. It also gives rise to sleeper hits, which are a mix of great content, timing, and that undefinable ‘it’ factor.

Sleeper hits are born in silence, then rise through whispers, says Singh, adding: “Many achieve success through natural word-of-mouth and genuine appreciation. Data can guide, but the heart of the crowd decides.”

Further, he explains the role of movie marketing in ‘creating’ sleeper hits: “Marketing teams may focus on subtle tactics that encourage organic growth, while remaining flexible to respond as interest builds. While deliberate creation of sleeper hits remains difficult, combining thoughtful promotion with audience feedback helps films find a wider audience over time.”

Contextual strategy is all it takes

Whether it’s sleeper hits or predictable blockbusters, movie marketing is all about context. Strategies are tailored to a film’s trajectory, with teams balancing pre-release buzz and post-release momentum to help movies achieve their full potential.

“Campaigns are always contextualised. The intensity is configured basis the requirement. We’ve seen strategies start heavy on pre-release digital assets, then pivot to amplifying real audience reactions once the film hits theatres. Sometimes the frenzy doesn’t even start online; it bubbles up in B and C centres, spills onto social, and hooks people who weren’t even interested,” shares Harikrishnan Pillai, CEO and Co-Founder, TheSmallBigIdea.

“The trick is reading the waves: first-day crowd (day-one hype), second wave (strong word of mouth), third wave. If the first two don’t click, the third never comes,” he explains, adding: “Timing is always the invisible hand. Trends last till fatigue sets in, and then one film changes the rules again.” Pillai notes that there is a content reality and a cultural reality. The intersection, he says, is great marketing.

Given the trajectory of most recent movies, the line between cinema and OTT marketing is indeed blurring, with studios adopting digital-first, data-informed techniques similar to those used by streaming platforms. WRM’s Singh explains, “Each audience segment gets a tailored path, and every trend is met with swift action. This fusion of tradition and tech gives films a longer life and a sharper edge, ensuring they remain in the public eye long after the premiere."

The shift in how movies are consumed and promoted is directly influencing cinema advertising. It is enabling brands to engage audiences throughout a film’s run and respond to real-time momentum, similar to OTT content, turning a traditional medium into a performance-driven channel.