When was the last time you actually watched a romantic film that felt as timeless as Mughal-e-Azam, or something as deeply emotional as Jab We Met? Or, full of life, like Dilwale Dulhania Le Jayenge? The answer would probably be—“many years ago”.
Romance has undoubtedly been a core element of Hindi cinema, shaping generations of Indian audiences who believed in the power of reel love and all things filmy. But in recent years, its portrayal seems to have evolved. The passionate, often dramatic, love musicals that once dominated the big screen, like those in Qayamat Se Qayamat Tak, Maine Pyar Kiya, Devdas, Hum Dil De Chuke Sanam and Veer Zara, have largely given way to narratives that are more casual, relevant to contemporary realities, and reflective of the modern-day complexities of relationships.
Love in cinema, it seems, has moved away from being a grand, all-consuming force and is now more about finding balance—between emotions, careers, personal growth, and the pressures of the real world. The shift from ‘sacrificial, idealised love’ to ‘pragmatic, modern love’ is a reflection of broader cultural changes, where romance is no longer just about intense passion and soulmates but about the practicalities of navigating relationships in the modern age.
Love stories can never go out of fashion, says film critic and business analyst Taran Adarsh. “While the industry may follow trends dictated by market demands—whether it’s high-octane action films, or entertainment-heavy blockbusters—romance is a timeless emotion that will never lose its place in cinema,” he adds.
“Films like Mughal-e-Azam, Dilwale Dulhania Le Jayenge (DDLJ), Sangam and Bobby are not just remembered—they are celebrated across generations. These films have etched themselves into the cultural memory, continuing to resonate with audiences long after their theatrical runs,” Adarsh says.
For years, Bollywood’s romantic landscape was shaped by a select group of influential filmmakers and production houses—Yash Raj Films, Dharma Productions, Sanjay Leela Bhansali, Rajshri Productions, and Imtiaz Ali—who led the way in creating unforgettable love stories. Alongside, the industry’s iconic romantic heroes—Salman Khan, Shah Rukh Khan, and Aamir Khan—defined Bollywood romance with their unique portrayals of heroism and emotional depth, becoming synonymous with the genre itself.
But audiences today are more diverse and have evolved tastes, preferring stories that feel more grounded in reality. Apoorva Mehta, producer and CEO of Dharma Productions, a film production and distribution company established by Yash Johar, and now led by Karan Johar, says, “Romance in Indian cinema hasn’t declined, it’s matured. Today’s love stories are shaped by emotional nuance and cultural shifts, instead of clichés.”
From Dharma Productions’ recent and upcoming films, whether it’s Tu Meri Main Tera Main Tera Tu Meri featuring Kartik Aaryan and Ananya Panday; Aap Jaisa Koi, a Netflix original film, starring R Madhavan and Fatima Sana Shaikh; or Chand Mera Dil, with Ananya Panday and Lakshya in the lead roles, the trend is clear—romance is no longer spectacle-first, it’s character-first. “Audiences are craving connection. Romantic narratives now span formats, from OTT intimacy to theatrical scale, showing that love stories are still central, just more textured, contemporary, and reflective of who we are today,” adds Mehta.
For many years, Bollywood produced a steady stream of romantic films, some of which followed the same formulaic patterns. While films like DDLJ and Hum Dil De Chuke Sanam became iconic, the sheer volume of similar stories led to a certain level of fatigue. As audiences grew more discerning, there was a demand for new, innovative ways of telling love stories. Also, the role of social media in shaping romantic relationships has dramatically changed how love is viewed in the modern age. Younger generations are now accustomed to digital interactions, online dating, and fast-paced, ever-evolving connections, which is a stark contrast to the traditional, slow-burning love stories depicted earlier.
“The decline of social dramas and standalone romantic films began around 2001-2002 when audiences started consuming these genres on television soaps. In popular cinema, romance remains an imperative track. Most often, it is integrated as a sub plot or as an emotional thread, or the driving force behind the film’s central conflict,” says Karuna Badwal, producer, Red Chillies, and business manager of actor Shah Rukh Khan.
The big picture
When it comes to depicting love, romance, and relationships, Bollywood’s evolution is truly fascinating—from melodramatic portrayals in the mid-20th century to exploring more complex and diverse facets of relationships today. The early years of Bollywood often showed love through idealised, almost fantasy-like portrayals. In Bobby (1973), Rishi Kapoor and Dimple Kapadia’s lip-lock was considered groundbreaking. Films like Shree 420 (1955) with Raj Kapoor and Nargis focused on love as a social and moral dilemma, where circumstances often influenced romantic decisions, and were heavily tied to the idea of class, wealth and social expectations.
Aashiqui (1990) remains one of those timeless romantic films that became a cultural touchstone for many, especially for young viewers, making romance a major fuel for younger audiences and families in India. Moving to the 2000s, Bollywood romance saw a marked shift. Shah Rukh Khan (SRK) and Kajol’s iconic song Suraj Hua Maddham in Kabhi Khushi Kabhi Gham (2001) was an epitome of this new era of romance where grandeur, melodrama, and romantic fantasy intertwined. If the undisputed king of romance, SRK, became the poster child for romantic heroes, then Love Aaj Kal (2009) marked a shift in the way love was portrayed, questioning traditional notions of love, fidelity, and commitment. Talk about the romantic tragedy Kedarnath (2018) featuring late actor Sushant Singh Rajput and Sara Ali Khan that served as a subtext to the challenges of interfaith relationship and 2013 Kedarnath floods. Kabir Singh (2019) was labelled as a romantic drama despite a tumultuous love story, exploring obsession, toxic relationships and violence.
Fast forward to films like Badhaai Do (2022) and Shubh Mangal Zyada Saavdhan (2020), which broke new ground in terms of how LGBTQ+ relationships are portrayed on screen. While they’ve received varying levels of commercial and critical success, they represent a major step towards inclusivity in Bollywood.
A love story alone isn’t always enough to draw people to cinemas today, there’s a stronger appetite for narratives that bring in depth, context, and character arcs. “Laapataa Ladies, for instance, is not a conventional love story, but the emotional threads of connection, self-discovery, and subtle romance are what truly resonate. That’s the kind of storytelling today’s audience is gravitating towards, more layered, more grounded, and rooted in real experiences,”says Sanjeev Kumar Bijli, executive director, PVR INOX.
“So romance isn’t disappearing as audiences still want to feel, to relate, and to root for love, and expect the narrative to evolve with them. That’s the shift we’re seeing, and it’s one we’re embracing as exhibitors too,” adds Bijli.
While it’s true that the number of pure love stories has seen a dip in recent years, Rahul Puri, managing director of Mukta Arts, a media and entertainment company founded by veteran filmmaker Subhash Ghai, does not agree with the dearth. “Romance is now interwoven into larger narratives like thrillers, dramas, or comedies. The audiences’ tastes have diversified, and filmmakers are finding more nuanced, layered ways to tell love stories. Over the past 10-20 years, hundreds of romantic films have been released, but they may not always follow the classic ‘boy-meets-girl’ formula. The genre is far from fading—it’s simply adapting to modern storytelling,” he adds.
In no mood for love?
Love stories are nowadays explored in greater depth with the emergence of social media and web series on OTT platforms. Series like Little Things (Netflix), Made in Heaven, and Permanent Roommates (Prime Video) offer a more realistic, contemporary take on romance, which resonates with today’s audiences who seek deeper and relatable portrayals of relationships.
But love as an emotion continues to be very relevant on OTT platforms. “We look at stories a little differently, and aim to find fresh ideas and interesting themes instead of focusing only on genres,” says Nikhil Madhok, head of originals, Prime Video, India. For instance, in Bandish Bandits, romance is an integral part of what is otherwise a show about the confluence of two different worlds of music. Likewise, Jubilee is a period drama set in the golden years of Hindi cinema, but it has romance embedded into the storyline. Call Me Bae is a comedy drama about a privileged girl trying to find a footing in a new city while trying to stand up for her beliefs, with a nuanced romantic arc that elevates the story.
“Our experience tells us that audiences react positively to the core story and the themes rather than genres alone. They seek honesty over formulas in storytelling. If you go by a more traditional definition of genre-based storytelling we have also brought Originals like Modern Love Mumbai/ Hyderabad/ Chennai, Love Storiyaan, Maja Ma, Rainbow Rishta, and many more, depicting love in its varied forms. We continue to believe in love’s enduring power to connect with audiences,” adds Madhok.
Interestingly, Call Me Bae was viewed in over 165 countries, and in over 85% of India’s pin codes, featuring among the top 10 trending titles on Prime Video in over 50 countries in its launch week in 2024.
“Audiences are more connected than ever to stories that feel real and relatable. What has changed is the way relationships are portrayed on screen. Today’s generation values authenticity, and films that portray modern-day love with its complexities, vulnerabilities and imperfections resonate deeply,” says Puri of Mukta Arts.
In fact, Bollywood has gradually transitioned towards content-driven cinema, with filmmakers focusing on stories that tackle more relevant social, political or personal issues. Romantic elements may still exist in these films, but they are now just one part of a larger, more intricate narrative. Movies like Piku (2015), Tamasha (2015) and The Lunchbox (2013) are examples where romance is blended with themes of loneliness, family dynamics and self-discovery, offering more substance than just a love story.
For Bijli, cinema has been a reflection of the times and love stories have adapted with each generation. “It’s just that the language of love has changed. It’s quieter now, more complex, and often layered with themes of individuality, ambition and personal growth,” says Bijli.
Films like Teri Baaton Mein Aisa Uljha Jiya blend romance with artificial intelligence. Loveyapa explores modern dating and commitment issues, and reflects how filmmakers are experimenting with contemporary themes while still tapping into core emotions. These aren’t traditional love stories—they’re shaped by the realities and dilemmas of today’s relationships, often blurring the lines between connection and convenience. “Films like Laapataa Ladies and All We Imagine As Light are bringing back emotionally intelligent storytelling—delving into themes of friendship, longing and self-discovery. We believe there’s a real need to bring such stories back to the big screen, films that feel honest, rooted and emotionally intelligent,” adds Bijli.
PVR INOX has implemented several strategies to increase footfall in theatres, with a strong focus on re-releases. Special screenings of Kabhi Kabhie, Lootera, Kal Ho Naa Ho, Jab We Met, Sanam Teri Kasam, Laila Majnu and Rockstar have been a significant part of this strategy. “The demand for romantic and classic titles has been strong. Several initiatives such as surprise celebrity appearances, exclusive fan screenings, special discounts, and thematic décor during select shows have resulted in strong engagement, with some re-releases performing on a par with new releases in terms of admissions and occupancy,” adds Bijli.
Having said this, times have changed. “Earlier people used to write letters and telegrams and this was portrayed in films too. Today, with WhatsApp and Instagram, romance, too, has become tech-savvy. Today, we don’t see more musicals as filmmakers focus on character development and narrative without the use of songs,” says Adarsh.
Numberspeak
While exact figures can vary significantly based on genre and scale, experts observe a clear upward trend in production budgets over the years. According to Puri, “In 2004, the average Hindi film budget was around `4-6 crore, with big-budget films crossing `20 crore. By 2014, this moved to an average of `15–25 crore, with larger films crossing `75 crore. In 2024, the average film budget was about `35–50 crore, with major blockbusters easily going above `100 crore.”
Puri attributes this rise to higher production values, better VFX, international shoots, and a strong emphasis on marketing and distribution across platforms. But the number of films has dropped.
“In 2004, Bollywood released approximately 150-180 films. By 2014, this number had risen to around 220-250 films. In 2024, while the official count is still being finalised, we expect it to be slightly lower, around 190-210 films. The minor dip is not a decline in creativity, but rather a reflection of the industry’s focus on quality over quantity. With the rise of OTT, theatrical releases are now being curated more carefully, studios are investing in content that delivers both on screen and through digital platforms. Theatrical films today face a higher bar in terms of storytelling, star power and production—and that’s a good thing for the long-term growth of the industry,” adds Puri.
According to Badwal, just before Covid in 2019, over 2,500 Indian films were made, a number which dropped to less than 900 in 2020. “From then on, it has been picking up but we have not yet reached pre-covid numbers, both in revenue and number of films. Bollywood’s scale of production and performance also mimics this trend. As an industry we are adapting and are essentially in a transition phase. The tightrope walk to balance content and commerce is fierce and unrelenting, but we are getting there,” adds Badwal.
ROMANTIC RESURGENCE
Param Sundari
Directed by: Tushar Jalota
Starring: Sidharth Malhotra, Janhvi Kapoor
Releases: July 25
Metro… In Dino
Directed by: Anurag Basu
Starring: Aditya Roy Kapur, Sara Ali Khan, Ali Fazal
Released: July 4
Untitled romantic film
Directed by: Anurag Basu
Starring: Kartik Aaryan and Sreeleela
Release: Not yet announced
Hai Jawani Toh Ishq Hona Hai
Directed by: David Dhawan
Starring: Varun Dhawan, Pooja Hegde, and Mrunal Thakur
Release: 2026
Chand Mera Dil
Directed by: Vivek Soni
Starring: Ananya Panday and Lakshya
Release: Not yet announced
Aap Jaisa Koi
Directed by: Vivek Soni
Starring: R Madhavan, Fatima Sana Shaikh
Released: July 11
King
Directed by: Siddharth Anand
Starring: Shah Rukh Khan, Rani Mukerji, Suhana Khan
Release: 2026