Movie Test Screenings and Focus Groups In India: Do They Actually Help Filmmakers?

In recent years, the concept of test screenings and focus groups in India have been slowly but surely gaining popularity and legitimacy, with several filmmakers — both upcoming and established — taking to the idea of testing the waters before releasing their projects.

From figuring out when to launch a title or gauging if it makes sense for a theatrical or streaming release, to checking if the screenplay appeals to a certain section of the audience, casting choices, as well as marketing strategy, focus groups can go a long way towards determining the final output of a project. However, while Bollywood seems to have well and truly embraced the format, with several large production houses and well-known filmmakers advocating for it, down south, awareness and acceptance of the phenomenon is still far and few in between.

The Southern Shift

The year 2025 has thus far been a rocky one for films across the country, with several tentpole projects tanking spectacularly, both in Hindi as well as the regional languages. Could more films then benefit from adopting test screenings as a procedure before release? Director Sudha Kongara, known for her films such as Irudhi Suttru (2016), National Award-winner Soorarai Pottru (2020) and Sarfira (2024), says that not too many filmmakers down south opt for test screenings, even though they are aware of it. “At most, they call in friends and family. However, I have used it to a large extent in all my films, since I feel focus groups are an absolute necessity. We do it pretty scientifically in a concerted manner and ensure that a wide cross-section of people view the film at different stages. It starts from the scripting stage itself, where various people help me come up with different iterations. Then, after the first edit of the film is done, for films like Soorarai Pottru and Irudhi Suttru, I’ve had over 100 people come in for a focus group.”

Kongara shows her films to all sections of her audience, including auto rickshaw drivers, gym trainers, teenagers, grandparents, and her own domestic help. “I like to show it to people who I feel the film doesn’t necessarily appeal to” she says. At the end of the day, she has to trust her instincts but having in-depth feedback always helps.

As of 12 September 2025, media consulting firm Ormax Media, the Indian pioneer in this category, has tested over 1,000 titles across the country, with the majority being in Hindi (799), with some Tamil (45) and Telugu (51) ones also featuring in the mix. All of these projects have used the focus groups at different stages: synopsis, screenplay and video (screenings).

Shailesh Kapoor, founder and CEO of Ormax Media, says he’s seen a significant change in attitudes and acceptance from the Hindi film industry over the past 15 years. “In the initial years [2010-13], only the corporate studios would use these methods, and a lot of creative producers and directors would see audience research as impeding creativity. But over time, as they have been exposed to some of our research reports, their opinions have changed. It’s fair to say that it typically takes one project for a producer or director to realise how insightful the process of testing a film can be,” he says.

Kapoor points out how, in the case of Anubhav Sinha’s Mulk (2018) actor Kumud Mishra received rave reviews for his performance as a judge — but he was not initially part of the cast. He was brought on-board as a replacement for another actor post audience feedback from Ormax’s research.

“While we have tested a lot in the South as well, it is fair to say that the market is a lot more conservative regarding testing. We have been focusing on growing the adoption of audience testing in the South since 2022, so like Hindi, it’s bound to take a couple of more years till we manage to penetrate that market deeper,” he says.

The Creative Conundrum

While the process is far more organised and official in Bollywood, in regional industries, most filmmakers largely depend on their social circles for input.

Gargi (2022) director Gautham Ramachandran conducted a variety of test screenings with numerous focus groups before the release of his 2022 drama which dealt with sexual assault. “If you end up showing your film only within your network, then not everyone will be honest with you,” he says. “They would not want to give bad news or point out too many flaws. Though I had many of my filmmaker friends critique the film before release, it’s imperative that people outside your social circle come in and watch it, and that these tests start at an early stage when there’s scope for change.” Ramachandran was also a producer on Gargi, which gave him the freedom to have as many test screenings as possible.

“Sometimes, the feedback does jolt you, good or otherwise. For instance, I was told that the film would make so much more money if I changed the climax to end the film on a positive note! But of course, I stuck to my guns,” he says.

However, there are those like Kannada actor-director Raj B. Shetty (Garuda Gamana Vrishabha Vahana, Su from So) who largely feel that the problem with focus groups is that, while the intention may be to make a fail-proof film, it may lead to something generic and safe. “Cinema or art is all about the risk it comes with. Maybe in Bollywood, this concept has taken off due to the projects becoming bigger in terms of money and business. But what we forgot is that cinema comes firstly through one’s vision, and it’s about understanding our imperfections through art and growing with the project,” he says.

“We keep seeing that when one film becomes a success, then the ‘formula’ keeps getting repeated. But people are individuals with constantly evolving tastes and minds. What might work for a focus group today may not make sense for them in three months; how do filmmakers catch up then?” Shetty asks. 

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