The Hindi film industry is currently boiling over with anger—and the reason is Maddock Films’ latest release, Bhool Chuk Maaf.
While the makers are busy projecting the film as a box office hit, insiders from trade and exhibition are calling it a blatant case of manipulation and malpractice. The gap between official numbers and actual ground performance has left many shocked and frustrated.
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According to trade sources, Bhool Chuk Maaf had an unusually short two-week theatrical window—a move seen as a betrayal by cinema hall owners, especially as footfalls are slowly returning.
But the real outrage began with allegations of massive self-bookings and aggressive ticket discounting, which insiders claim were used to inflate box office numbers.
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While the reported two-day collection stands at 16.5 crore net, many in the trade argue the real figure is closer to 8–9 crore.
The numbers have allegedly been padded with 100–200-rupee discounts on platforms like BookMyShow and bulk bookings by insiders. A senior distributor even called the entire box office tracking exercise “a joke” in light of this.
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Saturday reportedly saw insane levels of self-booking, with entire blocks of shows filled in advance—only to later play to half-empty auditoriums. Several industry insiders describe this as “unprecedented,” especially for a relatively small film with limited star power.
The situation turned even more bizarre when PVR INOX CEO Kamal Gianchandani took to social media to defend the film’s performance, stating:
“Some wrote off #BhoolChukMaaf citing ‘discount offers’ or ‘lack of appeal’. The box office tells a very different story — it’s a genuine HIT. May has revived theatres, audiences are back in big numbers.”
But that only fueled more bashing, especially since PVR and Maddock were reportedly involved in a legal battle just weeks ago. One trade analyst posted in response:
“Think about it—when has a multiplex CEO ever posted defending a film’s performance like this? This isn’t about box office anymore; it’s about saving face and protecting egos.”
The damage, however, is not limited to one film. There’s growing concern that such tactics are eroding trust in the entire box office system. As one exhibitor put it:
“Going forward, no one will believe collections at face value. Credibility is in shambles, and we’re all paying the price.”
In an era where perception often outweighs reality, Bhool Chuk Maaf has become a cautionary tale. It’s not just about one film—it’s about how far studios are willing to go to sell a narrative, even if it means sacrificing industry trust.
