'Navra Maza Navsacha 2': How Sachin Pilgaonkar Made His Blockbuster Marathi Film With ₹5 Crores

Everyone was punching above their weight to mount Navra Maza Navsacha 2, one of the highest-grossing Marathi movies of this year. After all, actor-filmmaker Sachin Pilgaonkar was releasing a film without studio support, financing five crore rupees out of his pocket, and even turning into a distributor. His wife, actor Supriya, broke her reservation for press junkets and gave multiple interviews, including dancing with her husband on Instagram Reels. Their daughter, actor Shriya, too, doubled up as the digital marketeer—steering the film's publicity campaign, while shooting for her own independent projects.

The film's star cast, who was on board to start the project in February 2023, aligned with Sachin’s core vision—including adjusting to the bomb he dropped just seven days before the shoot. 

“I asked my actors, who had given me their dates, that if I canceled the shoot, how long would I have to wait to restart. At least six months, they said. I asked, how about a year? They were fine, so I said let's start rolling next February. Then, I went back to the drawing board and reworked the script,” Sachin Pilgaonkar tells The Hollywood Reporter India on how he wrote, directed, produced, and starred in the hit Marathi comedy-drama sequel of the year.

Made entirely on a budget of what would be a Bollywood star's entourage cost for a single shoot, Navra Maza Navsacha 2 grossed nearly ₹ 25 crore at the box- office, recording a mammoth return of investment of over 150 per cent for Sachin.  

As the actor-filmmaker sits down with THR India to dissect how he made the film, Shriya Pilgaonkar, who sits on a couch right opposite him in their Lokhandwala residence, dubs the move as bold. “It had the energy of a film school project, but one needs the courage to take creative control. As they say: Be stubborn with your dreams, but flexible with your plans. That's exactly what Baba did.”

Excerpts edited for clarity and conciseness:

Apart from producing, writing, and directing, you distributed Navra Maza Navsacha 2 as well. Why?

My ambition was never to become a producer; I only wanted to be a creator. I turned producer only to do justice to the director within me. When I directed films for others, I was answerable to the producers. But here, as a producer-director, I am answerable only to my audience. 

It’s not just about making a film; it’s also about releasing it right. In the past, some producers often sold my movies to the wrong distributor, and the films suffered as a result. Back then, during the early days of my career in Marathi films, I didn't have any say in such decisions. Moreover, with Hindi directorials, there was also creative interference.

You self-financed the film. Were film studios attached at some point at all? 

Many were interested to be a part of it, even before the film began rolling, because the first instalment was a huge hit. But the kind of deliverables that were put in front of me were not agreeable. Not that they were wrong—I am not against the corporate system at all. People do work with them, and are happy to; but it doesn't suit me. I thought I would do it myself and, perhaps, set an example for those who wish to avoid corporates, and still be able to create films.

What were they asking for?

There were several aspects. Like, discussions on how much money they put in for publicity and advertising. The amount they put, was that even necessary? Does it burden the film? How enthusiastic would they be when, after the weekend, there is a little drop in the collection? What would be their approach towards it? This is because they are handling multiple films. They are doing business, but I am making a film.

Then, there was the issue of the percentage share. After investing all that money in the film, someone says, ‘We will distribute your film, but the profit will be split 50-50.’ Why? When the film is released, exhibitors give you only 45 per cent of the earnings from the first two weeks, and the rest is kept by them. 

Then, from that 45 per cent, you will have to adjust your publicity cost, after which show charges are deducted. Furthermore, 15 per cent would go towards distribution charges, and then whatever remains is split 50-50. It doesn't make sense! Why should I agree to it? Some people have no option—they need to release their films somehow, so they say yes to this model.

Were you scared to mount a film without a studio?

Not at all. I wasn’t confident this would be a big hit... but I was confident that I was doing the right thing. Even if the film hadn't made any money, I wouldn't have been answerable to anyone—nobody was going to knock on my door. I would have to, at the most, say sorry to my wife and daughter. However, I agree, not everybody can do this [take such a risk]. For those who can't, I would ask them not to. But if someone has the ability, they should.

The people who were involved in the film stood by me—not just the cast and crew, but also the vendors who supplied lights, cameras, and equipment. A large portion of the film was set in a train, and the location guy was extremely co-operative because we were making a Marathi film—and it couldn't compete with the budget of a Hindi film.

He took that into consideration, and my goodwill helped too. I was part of his life, despite him not having watched a Marathi film ever. These things matter: When you stand, you feel you are not alone.

What has been the state of Marathi film industry box office-wise?

Navra Maza Navsacha 2 will be one of the biggest successes of the year. But this year hasn't been good for the entire entertainment industry, which includes streaming and television as well. A lot of shows were dropped, budgets were slashed, and theatrical footfall decreased. Navra Maza Navsacha 2 would have done 20 crores more in business two years ago... something is changing when it comes to the viewing patterns of the audience.

There seems to be a clear pattern to what the Hindi film audience loves to watch today; the flavour of the season appears to be horror-comedies. What does the Marathi audience prefer watching?

They love watching something relatable. If you give them a Hindi film, but in the Marathi language, they won’t accept it. They must get something they can only find in Marathi cinema. I made a film called Ashi Hi Aashiqui (2019), but it had no ‘Marathi’ essence to it. That was a mistake. The producers wanted me to remake Ankhiyon Ke Jharokhon Se (1978), even after I refused. But they insisted, saying they had the title Aashiqui (1990) and kept requesting me to make it.

Back then, with nothing else happening, I thought let me look into it. I knew the word 'Aashiqui' in the title wouldn't work, so we preceded it with two Marathi words. I also changed the climax, and the film could have also been made in Hindi. But it didn't work—even for a day. I am not blaming others. The fate of the film is set when you decide what you want to make without listening to your gut. 

If you make an action film like Pushpa (2021) in Marathi, it won't work. They will wonder: What are you, as a filmmaker, doing that is original? I want to do just that. I also feel I shouldn't be restricted only to Maharashtra. I have worked more in Hindi films than in Marathi, and I want to entertain a larger audience, which can only happen when I make a Hindi film. This is also the time to do it.