South's 2026 first quarter: How Telugu, Tamil, Malayalam and Kannada films fared

The first quarter of 2026 was a subdued one for South Indian cinema, with limited box office successes and few hits. Industry insiders anticipate a more promising second quarter with multiple exciting releases ahead.

In Short

• South cinema's first quarter saw few major box office hits
• Tamil cinema faced setbacks with Jana Nayagan delay, mixed box office results
• Telugu films revived vintage family dramas with strong Sankranti releases

The year 2026 has started on a subdued note for South cinema. Three months in, Tamil, Telugu, Malayalam and Kannada film industries had few hits and fewer breakout moments at the box office. While there are many reasons behind a mellowed first quarter, the most glaring is the lack of engaging content that rose above the ordinary while acknowledging the audience's intellect.

Apart from Telugu cinema, hardly any films across industries crossed the Rs 100-crore mark. While that is a worrying sign, industry experts remain hopeful of an eventful summer, with many exciting films scheduled for release during the second quarter.

Now that the first quarter is behind us, here is how each industry fared.

Kollywood: Heartfelt drama ruled

For Tamil cinema, 2026 has been disastrous so far to say the least. The industry was supposed to open big with Thalapathy Vijay's Jana Nayagan, billed as the actor's last film before his full-time foray into politics — a film that was virtually guaranteed to be a money-spinner. However, the film was postponed following a month-long legal standoff with the Central Board of Film Certification over the non-issuance of a censor certificate. The film is currently with the revising committee with no release date in sight.

This gave Sivakarthikeyan's Parasakthi, directed by Sudha Kongara Prasad, a solo release. With the film highlighting the origins of Dravidian politics, it received mixed reviews but raked in over Rs 90 crore at the box office. Following Parasakthi, Jiiva's humble Pongal release Thalaivar Thambi Thalaimayil grossed Rs 40 crore.

After these two releases, there was a lull at the box office — and then began Tamil audiences' renewed love for feel-good, heartwarming dramas.

In February, Sivakarthikeyan-produced Thaai Kizhavi, starring Radikaa Sarathkumar, drew family audiences back to theatres. Made on a budget of nearly Rs 10 crore, the film earned over Rs 75 crore and is still going strong. The month of March brought two youthful love stories to the fore — Abishan Jeevinth and Anaswara Rajan's With Love and Ken Karunaas's Youth. While With Love collected nearly Rs 40 crore, Youth surpassed it with Rs 50 crore and is still continuing its theatrical run.

Tollywood: Sankranti, family dramas save the day

If the first quarter of 2026 is any indication, it signals the revival of vintage family dramas in Telugu cinema. Sankranti was a high-voltage weekend where three out of four releases received tremendous love from audiences. Chiranjeevi and Anil Ravipudi's Mana Shankara Vara Prasad Garu hit the jackpot, earning over Rs 300 crore worldwide.

Prabhas's The Raja Saab opened the Sankranti season and earned over Rs 200 crore, though it remains a loss-making venture given its Rs 400 crore budget. Naveen Polishetty's Anaganaga Oka Raju, also a Sankranti release, clocked another Rs 100 crore. The season ended on a high with the success of another heartwarming drama, Nari Nari Naduma Murari.

Though Telugu cinema also saw releases like Ustaad Bhagat Singh and Bhartha Mahasayulaku Vignyapthi, audiences kept returning to simple, endearing dramas — with even the critically acclaimed and commercially successful Couple Friendly finding its audience despite certification hurdles.

Mollywood: Still searching for its 2026 moment

It has been a rather low-spirited first quarter for Malayalam cinema. Not many films have emerged as massive successes in the way 2025's slate did. Jayasurya's Aadu 3 stands as the only Rs 100-crore grosser in the Malayalam industry in three months. Roshan Mathew's Chatha Pacha, which received warm responses, recorded around Rs 35.51 crore, while Prakambanam minted Rs 21 crore.

Despite releases from industry stalwarts including Nivin Pauly, Joju George, Jayaram, and Bhavana, none of them made a significant market impact or lived up to their potential. Malayalam cinema, which has set exceptionally high benchmarks for content-driven filmmaking in recent years, is still waiting for its defining film of 2026.

Sandalwood: A quarter of near misses

Kannada cinema's box office has seen a handful of releases that barely made a dent. Among the films that released since January, Raj B Shetty's Rakkasapuradhol, Duniya Vijay's Landlord and Love Mocktail 3 made the most significant mark. Love Mocktail 3, which rides on the legacy of the franchise, earned over Rs 12 crore and is still running. Its collections, however, took a hit when Ranveer Singh's Dhurandhar: The Revenge grossed Rs 53 crore in Karnataka alone, leaving limited screens for smaller Kannada releases. As per trade portal Sacnilk, Landlord made Rs 7 crore while Rakkasapuradhol raked in over Rs 5 crore.

The Kannada film industry is now looking to KD: The Devil, scheduled for April 30, to deliver the breakthrough hit the industry has been waiting for.

Looking ahead

The first quarter of 2026 has been, by most measures, a period of recalibration for South cinema. The absence of tentpole releases, combined with shifting audience preferences, has made it clear that spectacle alone is no longer enough. What has worked — Thaai Kizhavi, Mana Shankara Vara Prasad Garu, Nari Nari Naduma Murari — has done so because it connected emotionally, not just commercially.

With ongoing IPL matches, exams, elections in Tamil Nadu and Kerala, the theatres haven't witnessed heavy footfalls. The second quarter promises a far busier release calendar, with several major films waiting in the wings. Whether South cinema can convert that promise into a sustained box office recovery remains to be seen. But if the first quarter has taught the industry anything, it is that audiences will always show up — provided the story is worth their time.

- Ends