Speaking at FICCI Frames 2026, the star‑producer warned that Hindi cinema’s linguistic patchwork makes box‑office hits a gamble, even as his new thriller Drishyam The Conclusion nears release on Oct 2.
A Puzzle Only Hindi Cinema Solves
On the second day of FICCI Frames 2026, Ajay Devgn took the stage with JioStar’s Alok Jain and laid out why a Hindi film feels like aiming at a moving target. “Making a Hindi film is the most difficult,” he said, pointing to the fact that the language morphs every 80‑90 kilometres. A phrase spoken in Delhi can sound different in Lucknow, and the mental map of the audience shifts with each change.
He contrasted this with regional productions, noting that a Punjabi, Telugu or Tamil film knows its market inside out. “When you make a Punjabi film you understand the audience as it’s made for a certain region,” Devgn explained, adding that those makers can tailor jokes, music and even the colour palette to a known palate.
The Hindi belt, by contrast, is a patchwork of mass and class viewers, urban hubs and rural pockets. “Either it’s liked by one section of the audience and the other section may not like it,” he warned, implying that box‑office numbers can swing wildly depending on which slice of the nation walks into the theatre.
International Clarity vs. Domestic Chaos
Devgn didn’t stop at the domestic front. He praised international cinema for its laser‑focused audience research. “They know that, ‘This is how they think, this is how they behave,’” he said, suggesting that overseas studios can craft a product for a single demographic and expect it to land.
In India, the challenge is to please everyone at once. “How do you cut across to everyone? So it’s most difficult to write a Hindi film,” he concluded, underscoring the pressure on writers and producers to balance star power, story depth and regional sensibilities.
Drishyam The Conclusion – A Test Case
The conversation inevitably turned to Devgn’s own upcoming thriller, Drishyam The Conclusion, which hits screens on October 2. When asked how he feels about the film’s prospects, he replied, “We are keeping fingers crossed. You’ll have to wait and watch to find out if Vijay Salgaonkar can beat them or they beat Vijay Salgaonkar.”
He added a personal verdict after a private screening: “I saw the film yesterday. My personal opinion is that it beats Drishyam 2.” The confidence was palpable, but he tempered it with a reminder that sequels survive only when the characters endure.
“I think sequels don’t work. The characters work,” Devgn said, citing long‑running franchises like Golmaal and Singham. “When the audiences start investing in characters is when you should make a sequel.” His point was clear: a strong protagonist can carry a story across multiple films, but a sequel built on a one‑hit wonder will likely fizzle.
What This Means for the October Release
With the film’s release just two days away, the star’s remarks have added a layer of intrigue. If the Hindi market truly is a kaleidoscope of tastes, Drishyam The Conclusion’s performance could become a barometer for how well a single‑character‑driven thriller can bridge that divide.
Industry watchers will be watching the opening weekend numbers closely. A strong start might reinforce Devgn’s theory that a well‑crafted character can cut through linguistic and class barriers. A lukewarm response could fuel the debate about whether Hindi cinema needs to segment its releases more sharply, perhaps by tailoring versions for different regions.
For now, the countdown ticks, and fans are left with a simple question: will Vijay Salgaonkar’s final act win over a nation that rarely agrees on a single story? The answer will arrive on October 2, when the lights dim and the audience decides.
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