Sometimes, it’s not just about how good a film is — it’s about where and how people get to watch it. And that’s exactly the conversation heating up right now around Project Hail Mary. Despite strong global reviews and a solid response overseas, the film has found itself in a tricky spot in India, where IMAX screens are limited and competition is fierce. The big clash this time came from Dhurandhar 2, headlined by Ranveer Singh, which ended up taking a major share of premium screens.
Reacting to this situation, Priya Kansara — who voices the onboard AI “Hail Mary” in the film — shared her thoughts in an interview with Zoom, and her response felt quite balanced rather than defensive. She admitted that, as someone involved with the film, she would obviously want it to be seen on as many IMAX screens as possible. But at the same time, she didn’t ignore the reality of how the industry works. According to her, exhibitors and distributors ultimately lean toward what they believe will bring in the most revenue, especially when dealing with different audience preferences across regions.
And that’s where things get interesting. The Indian market behaves very differently compared to the US or UK when it comes to theatrical choices. A large-scale Hindi entertainer like Dhurandhar 2 naturally carries a wider local pull, especially when backed by a star like Ranveer. So while Project Hail Mary may have been designed as a visual-heavy IMAX experience, business decisions don’t always align with creative intentions. It’s not always about fairness — it’s about what fills seats faster.
That said, the story didn’t end with limited screens. What really stood out in this entire situation was the audience reaction. Fans of Project Hail Mary actually started petitions demanding more IMAX shows across Indian theatres. And surprisingly, in some cases, theatres did respond by increasing the number of screenings. Priya herself seemed genuinely impressed by that, pointing out how powerful it is when audiences collectively make their voices heard. In an industry often driven by numbers, this kind of direct demand can sometimes shift decisions, even if only slightly.
She also emphasized something that many film lovers would agree with — that Project Hail Mary is meant to be experienced on a massive screen. The scale, the visuals, the immersive space setting — all of it is built for that theatrical impact. Watching it later on a smaller screen might still work, but it won’t quite carry the same weight. And that’s where the disappointment comes from, not just for the makers but for viewers who want the full experience.
Interestingly, despite the screen crunch, the film has still managed to perform decently in India, reportedly crossing the ₹50 crore mark within a couple of weeks. That suggests there is a growing audience here for high-concept sci-fi, even if it doesn’t always get priority over mainstream local releases. It also highlights a larger pattern — Hollywood films in India often have to fight harder for premium formats when they clash with big domestic titles.
At the end of the day, this isn’t just a clash between two films. It’s a reflection of how the theatrical ecosystem works — limited screens, high stakes, and constant trade-offs. Project Hail Mary may not have dominated IMAX in India, but the conversation it sparked around audience demand and viewing experience is just as important. And if anything, it proves that even in a business-first setup, the audience still has the power to influence the narrative — at least a little.
