3 hours at the movies: Why Malayalam films stretch runtimes

Three-hour films were once reserved for grand historical dramas and epic spectacles. Today, however, lengthy runtimes are becoming increasingly common, particularly for big-budget event films. While Malayalam cinema has traditionally been known for its crisp storytelling and tighter narratives, the industry is now embracing longer films, mirroring a trend already seen in Telugu, Hindi, and Hollywood productions.

The shift is evident in some of Malayalam cinema’s biggest releases this year. Aadu 3 has a runtime of 2 hours and 50 minutes, Vaazha II: Biopic of a Billion Bros runs for 2 hours and 43 minutes, Mollywood Times lasts 2 hours and 47 minutes, while Mammootty’s Patriot crosses the three-hour mark. Even Tamil superstar Vijay’s farewell film Jana Nayagan, which enjoys a massive fan following in Kerala, has a runtime of 3 hours and 3 minutes.

The growing trend has sparked an interesting debate within the film industry. Are filmmakers creating larger, more ambitious stories that naturally demand extra screen time, or has a longer runtime itself become part of the appeal of an event film? More importantly, are audiences still willing to remain engaged for three hours, or are they becoming less patient with slower-paced narratives?

Gold 101.3FM UAE’s No. 1 radio station continues to bring listeners the latest updates from the world of cinema, exploring changing trends in filmmaking, audience preferences, and the evolving entertainment industry.

For theatre owners, event films remain the biggest crowd-pullers regardless of their duration. These are films that audiences eagerly anticipate for weeks, often resulting in packed theatres from the very first day of release.

Film Exhibitors United Organisation of Kerala (FEUOK) President K. Vijayakumar points to Drishyam 3 as a recent example of an event film that generated exceptional demand.

According to Vijayakumar, more than 60 per cent of theatres were allocated to Drishyam 3 during its release because of the overwhelming audience response. He added that similar enthusiasm was seen for films such as Aadu 3 and Vaazha II, with exhibitors willing to dedicate additional screens despite their lengthy runtimes because audience demand remained consistently high.

Interestingly, Vijayakumar believes the success of large-scale releases does not necessarily come at the expense of smaller films.

He explains that audiences usually choose films based on familiarity, strong word of mouth, or the presence of major stars. People who plan to watch an event film generally do so because they specifically want that cinematic experience, while smaller films continue to attract their own audience.

Longer runtimes do reduce the number of shows theatres can schedule in a day. However, exhibitors say this has little impact on revenue when a film enjoys strong occupancy.

Saju Johny, owner of Kavitha Theatre in Kochi, says the economics are straightforward. Smaller films featuring relatively new actors often struggle to draw audiences, but star-driven productions such as Jana Nayagan or Dhurandhar continue to fill theatres. Even if a three-hour runtime results in one fewer show each day, packed houses compensate for the reduced number of screenings.

However, industry experts believe the bigger challenge lies with filmmakers rather than exhibitors.

Today’s audiences consume entertainment differently from previous generations. Streaming platforms have made viewers accustomed to pausing, resuming, or abandoning content at any point. In contrast, watching a three-hour film in a theatre requires an uninterrupted commitment of time, making audience engagement more important than ever.

Vijayakumar notes that pacing has become one of the most common concerns expressed by moviegoers.

He says many viewers today find it difficult to remain invested in films that feel slow or unnecessarily stretched. According to him, even some recent event films starring major actors received criticism because audiences felt the storytelling lacked momentum.

He cites Jana Nayagan as an example. Although the film opened strongly across Kerala and significantly boosted theatre collections, its net box office collections reportedly dropped by nearly 50 per cent within just two days. While several factors influence a film’s commercial performance, Vijayakumar believes modern audiences are far less forgiving when a narrative loses its pace.

A similar view is shared by Rahul Radhakrishnan, co-editor of Mahesh Narayanan’s Patriot. He believes the discussion should never revolve around runtime alone.

According to Rahul, the strength of the content is what ultimately determines whether a film justifies its length. If a story genuinely requires three hours and remains engaging throughout, audiences are unlikely to complain. However, if the narrative becomes repetitive or loses momentum, even a much shorter film can feel exhausting.

For editors and filmmakers, the goal is not to achieve a specific runtime but to ensure every scene contributes meaningfully to the story. Some narratives naturally need additional time to develop characters, relationships, and emotional depth, while others become more effective through concise storytelling.

As Malayalam cinema continues to produce larger-scale theatrical spectacles with ensemble casts and ambitious storytelling, extended runtimes are likely to remain a defining feature of event films. However, industry voices agree on one key point: today’s audiences are no longer impressed by length alone. What truly keeps viewers in their seats is engaging storytelling, compelling performances, and a narrative that earns every minute of its runtime.