Horror has always been a niche genre in India, oscillating between cult classics and low-budget thrillers. Yet, the sustained success of The Conjuring franchise has rewritten that narrative, making supernatural horror a reliable box office draw. With The Conjuring: Last Rites crossing the ₹70 crore mark in India, the film has reaffirmed both the franchise’s popularity and the Indian audience’s growing comfort with global horror.
When The Conjuring debuted in 2013, few expected it to break through cultural barriers in India, where family dramas and star-driven vehicles ruled the roost. But James Wan’s taut storytelling and the chillingly authentic Ed and Lorraine Warren mythology struck a chord. Every installment since, Annabelle, The Nun, and The Conjuring sequels, has grown its fan base.
For Indian audiences, the blend of Hollywood-grade production with universal themes of fear, faith, and family protection made The Conjuring films resonate more than gore-heavy Western horror franchises. Last Rites is the latest example of this enduring formula.
Industry trackers reveal that Last Rites opened strong, with an opening weekend collection of nearly ₹30 crore. Multiplexes in Delhi, Mumbai, Bengaluru, and Hyderabad reported full houses, with late-night shows selling out, a rarity in the horror genre.
After three weeks in theatres, the film has now crossed ₹70 crore in India, placing it among the most successful Hollywood horror releases in the country. Globally, the film is inching towards the US$400 million mark, with India contributing a significant slice to its overseas revenues.
For context, this is more than many mid-tier Bollywood films this year, highlighting the widening gap between local star power and Hollywood franchises.
Why Indian Audiences Love The Conjuring
The appeal of The Conjuring franchise in India goes beyond jump scares. Experts cite several factors:
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Brand Recall: The Warren family narrative has become as recognizable in India as the Fast & Furious ensemble. Each installment builds familiarity.
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Word of Mouth: Horror thrives on community viewing, and Indian audiences relish collective theatre experiences, screams, laughs, and nervous chatter.
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Faith Factor: The films’ religious undertones, exorcisms, priests, and demonic possession, find cultural echoes in India’s own myths and beliefs.
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Youth Appeal: Gen Z audiences are leading the horror wave, often drawn by viral TikTok/Instagram reactions that amplify the scare factor.
Compared to other superhero blockbusters, horror films operate on modest budgets. Last Rites reportedly cost under US$40 million to make, yet its Indian box office alone has yielded nearly a quarter of that figure. The ROI makes horror an attractive genre for distributors and theatres, particularly in markets like India, where horror enjoys a communal pull.
The genre also benefits from repeat value. Fans often revisit screenings to watch friends’ reactions or relive scare sequences, boosting footfalls. OTT releases, when they arrive, sustain the hype, ensuring longevity of the franchise.
Last Rites enjoyed a relatively clean run in India with no major Bollywood releases clashing during its opening. This gap allowed the film to dominate multiplex schedules. Its release ahead of Halloween also positioned it well for extended traction, as horror films traditionally peak during festival seasons globally.
Meanwhile, regional releases like Lokah: Chapter 1 – Chandra and Madharaasi catered to different markets, allowing Last Rites to consolidate pan-India collections.
The film’s success also highlights Hollywood’s uneven year in India. While superhero tentpoles like Deadpool & Wolverine broke records, dramas and family titles underperformed. Horror, however, has been consistent, with films like The Nun II and Annabelle Comes Home doing solid business. Last Rites has built on that track record, positioning horror as Hollywood’s reliable weapon in India.
Audience Reactions And Cultural Fit
Social media reactions from Indian audiences underline how well Last Rites has connected. From memes about sleepless nights to viral clips of people screaming in theatres, the community-driven marketing has boosted its run.
Interestingly, cultural familiarity with ghost stories has helped. India has its own folklore of spirits, possessions, and haunted houses. This backdrop makes The Conjuring’s demonic universe more accessible, unlike Western slashers that often rely on niche tropes.
The ₹70 crore success of Last Rites raises tough questions for Bollywood. Despite mega budgets and big stars, many Hindi films have struggled to cross that benchmark this year. Hollywood horror, by contrast, is doing it with less noise, fewer stars, and relatively modest costs.
Some Indian filmmakers are now experimenting with horror-thrillers, recent examples include Stree and Bhediya, which mixed comedy with scares. But Hollywood’s slick production and global branding keep the bar high.
Distributors expect more horror franchises to capitalize on India’s appetite. The Nun III and rumored Annabelle spin-offs are already anticipated. At the same time, Netflix and Amazon Prime are pushing horror originals, hoping to capture the same audience on streaming.
For exhibitors, the lesson is clear: horror is no longer a niche weekend filler. It is a bankable genre that can deliver blockbuster returns with relatively lower investment.
Conclusion: Fear Is Profitable
The Conjuring: Last Rites is more than a box office hit—it is proof that horror has cemented its place in India’s mainstream entertainment. With ₹70 crore and counting, the franchise continues to defy odds, reminding us that fear, when packaged well, can be just as profitable as love stories or action spectacles.
For Indian audiences, the appeal lies in shared screams and heart-pounding nights. For Hollywood and theatres, it’s about steady revenue and expanding cultural dominance. And for Bollywood, it’s a wake-up call: perhaps the scariest competition comes not from rivals at home, but from ghosts abroad.
The Conjuring: Last Rites Crosses ₹70 Cr, Pushes Viewers’ Appetite For Horror added by Arun Kumar N on
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