There was a time when the name Dharma Productions stood for aspirational cinema — glossy, larger-than-life, and undeniably entertaining. But somewhere along the way, the glitz turned into hubris. Today, the same banner that once shaped mainstream Hindi cinema is dragging it down, one vanity project at a time. The problem isn't just creative stagnation — it’s a brand of unchecked snobbery that refuses to adapt, even as the rest of Indian cinema evolves rapidly around it.
Take Dhadak 2, for instance. A remake of the Tamil film Pariyerum Perumal, it could have been a moment of humility — an opportunity to acknowledge that powerful stories are now emerging from outside the confines of Bollywood. Instead, Dharma approaches it with the same outdated template: over hyped gloss, and unrealistic emotional manipulation. What should be a culturally specific, edgy story is being processed through a sterile, formulaic lens — which has become Dharma’s calling card.
Worse yet is the studio’s blind ambition with Sunny Sanskari Ki Tulsi Kumari, releasing on October 2, 2025 — the same day as Kantara: Chapter 1, backed by Hombale Films. On paper, it’s a suicidal clash. Kantara is not just a regional success; it’s a cultural movement. Rooted in the soil of Karnataka and woven with myth, history, and soul, Rishab Shetty’s vision became a global phenomenon. Meanwhile, Dharma is parading recycled narratives with overexposed stars, banking on nostalgia and marketing muscle — not content.
This isn’t just about one film. It’s a pattern that has become endemic to the studio's culture. Dharma has become a factory of safe bets and vanity-driven spectacles, ignoring the winds of change sweeping across the industry. Its refusal to invest in originality is setting a terrible example — especially for emerging producers, directors, and writers who are looking to Bollywood for inspiration. When the so-called benchmark of Hindi cinema keeps lowering its standards, the entire industry suffers. The entire narrative has turned to the point where Dharma has managed to put Hindi cinema release within the confine of regional sector, while South cinema has gone Pan-India and global.
Adding insult to injury, the production house’s financial troubles have become public knowledge. After a string of underperforming releases, Karan Johar had to sell off a significant stake of Dharma to Adar Poonawalla’s venture just to raise funds. This isn’t growth — it’s survival disguised as strategy. Yet, instead of introspection, Dharma doubles down on bloated, tone-deaf projects, completely detached from the ground reality of what audiences actually want.
The result? A once-powerful studio now clings to legacy while the rest of India tells better stories, makes better cinema, and commands global attention. From Malayalam thrillers to Kannada epics to Marathi dramas — regional cinema is showing what true storytelling can do, while Dharma clutches its fading brand and star-cast posters.
The snobbery of Dharma Productions is no longer just a personal flaw — it’s a systemic problem that's dragging Hindi cinema into irrelevance. If the studio truly wants to stay relevant, it needs to shed the arrogance, abandon the cookie-cutter formulas, and start listening to the audience — before it’s too late, and regional cinema wipes the floor for good.