‘Housefull 5’ bets on dual endings — but is the marketing gamble paying off for brands?

Gone are the days when a film’s trailer was the only major promotional tool leading up to its theatrical release. Today, movie marketing has transformed into a full-blown multimedia experience — blending brand collaborations, interactive campaigns and influencer tie-ups. In an increasingly competitive and content-heavy entertainment space, filmmakers are stepping up their game to not just create buzz but to convert that buzz into box office footfalls.

The urgency to innovate in marketing stems from a larger challenge: getting audiences back to theatres. In a world where OTT platforms offer endless content at home, the theatrical experience must now be sold — not assumed. 

This is where Housefull 5, the latest instalment of the popular comedy franchise, has taken an unusual leap. The film has been released as ‘Part A’ and ‘Part B’ — each with a different ending.

Two endings, one bet: will audiences return?

This dual-ending strategy gives audiences an added reason to buy a second ticket. It’s a gamble that relies on curiosity, FOMO, and loyal fandom to drive repeat viewings. The film, which was released on June 6, 2025, carries forward the franchise that began in 2010, known for its chaotic humour, ensemble casts, and larger-than-life gags. 

This time too, the film stars Akshay Kumar, Riteish Deshmukh, and Abhishek Bachchan, among others, continuing its legacy of madcap multi-starrers.

But the question is — while the dual-ending strategy is certainly novel, is it effective?

Brands weigh the risks and rewards

Kaanchan Shah, head of marketing for Brand Concepts, believes that this dual-version strategy reinforces brand recall over time. Juicy Couture and Tommy Hilfiger, two of their travel bag brands, are integrated into the movie.

“Associating with a film which features dual endings presents more opportunities than challenges when executed thoughtfully. This format enhances reach, boosts repeat viewership, and fuels conversations organically, extending brand exposure,” she explains.

However, not everyone is convinced. Aditya Modak, co-founder of Gargi, by P. N. Gadgil and Sons, which regularly advertises in theatres, calls it a risky proposition. “When the audience is split between versions, the impact of brand integration becomes difficult to gauge,” he says.

To tackle this concern, Shah notes that Brand Concepts ensured the brand placements were consistent in both versions. “When a film releases with multiple versions, it’s important that our brand presence remains consistent and impactful across each. By securing visibility in both endings of Housefull 5, we ensured that the core narrative and brand association stayed intact,” she said.

Modak, however, still believes the biggest challenge lies in measuring ROI. “If your brand appears in the version that gets less exposure, calculating ROI becomes extremely difficult. With the audience split, recall is scattered, and it isn’t easy to measure the impact with precision. This lack of clarity makes it a weak proposition for us from a return-on-investment perspective.”

Raajesh D Saathi, founder of Keroscene Films, sees it from a creative lens. He praised producer Sajid Nadiadwala for consistently experimenting with each instalment.

“Nadiadwala is an excellent producer and marketing brain, and this one has worked. Housefull 4 had something else; Housefull 5 has two endings… I don’t think ‘Housefull 6’ will have two endings — he’ll have something new.”

The box office report card

At the box office, the movie has performed well. In its first two weeks, the film has grossed around Rs 250–275 crore worldwide, with around Rs 165 crore net in India. With an estimated budget between Rs 175 and 200 crore, the film seems to be on firm financial ground.

The larger theatrical landscape has also shown encouraging signs. According to the India Box Office Report, May 2025 proved to be a strong month for Indian cinema, grossing Rs 1,136 crore domestically — the second-best month of the year after February. 

Raid 2 led the pack with over Rs 200 crore, followed by Mission: Impossible – The Final Reckoning at Rs 115 crore. Together, they contributed 28% of May’s box office. In total, films released between January and May 2025 earned Rs 4,812 crore — up 27% from the same period in 2024.

However, Saathi notes that sustained success depends on whether audiences return for the second ending or wait for OTT: "Only then will we see whether the same audience will go and watch the other part… Or people will just wait for the OTT release, which is likely 3-4 weeks."

New distribution models emerge

Even as Housefull 5 plays in theatres, the experimentation doesn’t stop. Releasing today, Aamir Khan’s Sitare Zameen Par has adopted an equally bold strategy — skipping traditional OTT altogether and opting instead for YouTube’s pay-per-view model. 

In an industry still figuring out how to strike the right balance between streaming and theatrical, this move could set a new precedent if successful.

Meanwhile, some films are saving bonus content for their digital runs —Jawaan and Animal, for example, released their uncut versions exclusively on OTT platforms, reigniting conversations weeks after their original theatrical runs.

As the industry evolves, it’s becoming increasingly clear: a successful film today isn’t just about what’s on screen but how it gets there. And while the strategy of alternate endings has seemingly worked for a crowd-pleasing comedy franchise like Housefull, it remains to be seen whether others will adopt the same — and if it will work just as well for different genres.