Cinema VinesFor years, Malayalam films were known for their concise storytelling, rarely exceeding the two‑hour mark. Yet this year the industry’s biggest releases are pushing the envelope, with runtimes that rival those of Hollywood blockbusters. Aadu 3 clocks in at 2 hours 50 minutes, Vaazha II: Biopic of a Billion Bros at 2 hours 43 minutes, Mollywood Times at 2 hours 47 minutes, and Mammootty’s Patriot surpassing three hours. Even the Tamil superstar Vijay’s farewell film Jana Nayagan, which has a strong following in Kerala, runs for 3 hours 3 minutes.
The trend is not unique to Malayalam cinema; Telugu, Hindi and Hollywood films are also extending beyond the traditional 2½‑hour limit. Industry observers wonder whether directors are simply making larger stories or whether audiences now expect longer runtimes as part of the “event‑film” experience. The question also touches on whether viewers are still willing to sit through three‑hour movies or if patience is waning.
For theatre owners, event films remain the biggest draw regardless of length. They are booked weeks in advance, keeping screens full from the moment reservations open. FEUOK president K Vijayakumar cites Drishyam 3 as a recent example, noting that “more than 60 per cent of theatres were reserved for Drishyam 3 during its release.” He added that the film benefited theatres because it was an event that audiences had been waiting for, and that the same pattern held for Aadu 3 and Vaazha II.
Despite the longer runtimes, exhibitors are willing to dedicate more screens because demand stays high. Vijayakumar explains that the success of an event film does not automatically hurt smaller releases; audiences typically choose familiar titles or movies starring big actors, and people go to theatres specifically for those big releases.
From a revenue perspective, a three‑hour film reduces the number of daily shows, but star power can offset that. Saju Johny, owner of Kavitha Theatre in Kochi, says that smaller films with new faces may not attract crowds, whereas films like Jana Nayagan or Dhurandhar draw packed audiences. Even if the runtime means one fewer show, the theatre does not see a significant loss.
The real challenge lies with filmmakers, who must contend with changing consumption habits. Streaming platforms allow viewers to pause, return later or abandon a film mid‑stream, making long runtimes riskier. Filmmakers now have to decide whether to embrace the event‑film model or find new ways to keep audiences engaged in an era where attention spans are fragmented.
