3 min read26 Oct 2026, 11:04 AM IST
Summary
Indian films so far have made money overseas with a diaspora audience that prefers to watch in the original langugage. Can English dubs expand that business?
The overseas business of Indian films has so far been driven largely by diaspora audiences who prefer to watch them in their original languages. However, with the big-budget mythological epic Ramayana heading for an English release and action film Toxic having attempted the same recently, entertainment industry experts say the strategy could attract younger diaspora audiences, second- and third-generation Indians and, more importantly, non-Indian viewers who may know the story but have never experienced it on the big screen. This could build on trends in streaming, where multiple Indian titles are dubbed and watched in English and other foreign languages.
Two audiences
“Theatrically, it (releasing an English version) has been rare. That inverts the traditional sequence where overseas was treated as an extension market, and it signals real confidence in the story’s ability to travel. These are two distinct audiences, and both can work together to contribute to the film’s success,” said Ashish Misra, head of commercialization at Cinépolis India.
The diaspora viewer wants the original language. For them, the film is a cultural event, it is nostalgia. They know the story, they know the stars, they grew up with this and the opening weekend for them is a communal occasion, Misra said. At the same time, the English version is aimed at a completely different moviegoer: the mainstream international audience that has warmed up to Indian cinema over the last few years but engaged with it mostly through subtitles or streaming. An English version removes the last barrier between that viewer and a big-screen experience.
Sameer Munshi, chief operating officer at Miraj Entertainment Ltd, said streaming has more or less removed the language barrier for Indian and global content alike. Just as Indians have got used to watching international shows with subtitles, including Japanese anime and Korean dramas, especially since the pandemic, audiences worldwide have grown equally comfortable discovering Indian stories through subtitles and dubbing, even without a prior connection to the language or culture.
“That's led to an important shift: people are now watching Indian content because the story interests them, not just because they're part of the diaspora. For a big theatrical release like Ramayana, that comfort with dubbed content makes the English version much easier for global audiences to accept,” Munshi added.
A wider market
Industry experts agree that English dubbing remains relatively uncommon as a major theatrical strategy for Indian live-action films. However, just as Korean content, Japanese anime and Chinese films have found audiences globally, Indian cinema has an opportunity to do the same, said Kamal Gianchandani, chief business planning and strategy at PVR INOX Ltd.
According to Rohit Dalmia, chairman and managing director of CineNow, an entertainment financing platform, the biggest challenge is localisation without losing authenticity. Dialogue, humour, emotion and cultural references have to feel natural in English rather than translated. There is also a marketing challenge: an English version competes for screens and attention with Hollywood films, so distributors must convince audiences that it is global event cinema rather than simply a dubbed Indian release.
The authenticity test
“The diaspora often prefers the original language because the voices, dialogue delivery and cultural nuances are part of the experience. But OTT has changed the equation. Movies like Dhurandhar, RRR, Baahubali and Kantara are good examples of Indian films being made available to audiences through multiple language options, reducing the barrier for viewers unfamiliar with the original language,” film producer Anand Pandit said.
Baahubali, for instance, has an English version on Netflix, while Kantara is available with English audio. An English version can therefore bring in viewers who may not normally choose a subtitled Indian film, while the original-language version continues to serve audiences who want cultural and linguistic authenticity.
“Recent global successes such as RRR showed that Indian films can attract audiences beyond the diaspora, but that happened because the film was positioned as a major cinematic event. Ramayana will need the same approach marketed as a universal epic with international appeal, not merely as an Indian film dubbed into English,” Pandit added.
About the Author
Lata Jha
Lata writes about the media and entertainment industry for Mint, focusing on everything from traditional film and TV to newer areas like video and audio streaming, including the business and regulatory aspects of both. A journalist for over a decade, she has extensively covered relatively underexplored aspects of what is seen as a glamorous business—from the death of single-screen cinemas in small towns to unreasonable star fees and demands eating into film production budgets and eventually inflating ticket rates. She was early to spot what are now established and ongoing trends such as the slowdown in the OTT business and the surge in the popularity of southern movies, which she continues to spotlight. A regular writer of in-depth, long-form features, her best-read work ranges from critical profiles of companies like Netflix, JioHotstar and Prime Video to takes on sexual harassment and mental health in the entertainment industry. She spends a lot of time watching content, particularly the old-school way in movie theatres, to make sure her writing is embedded in on-ground experience, since she believes the best stories often come from the travesties of directly engaging with and paying for the content that she writes on, and not from celebrity tweets, company releases or listings. A graduate of the Columbia School of Journalism, she has also authored a book on the business of entertainment.