Onam 2026 showdown: Why Prithviraj, Dulquer Salmaan and Nivin Pauly can’t afford to lose

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A history of Onam box office showdowns

For the longest time, the Onam season almost entirely belonged to Mohanlal and Mammootty, each of whom had multiple releases during the holidays in the 1980s. In 1986, according to M3DB, the festival season saw Mohanlal’s Sukhamo Devi and Namukku Parkkan Munthirithoppukal clashing with Mammootty’s Poovinu Puthiya Poonthennal, Aavanazhi, Sayam Sandhya, Nandi Veendum Varika, and Nyayavidhi.

While the battle was rather subdued in 1987 with just Vazhiyorakazchakal (Mohanlal) and Manivathoorile Aayiram Sivarathrikal (Mammootty), it became fierce again in 1988, with Mammootty’s 1921 and Thanthram and Mohanlal’s Aryan hitting the screens. In 1989, Mammootty’s Jagratha and Nair Saab locked horns with Mohanlal’s Vandanam.

In the 1990s, the Onam season witnessed the release of major Mammootty movies such as Kizhakkan Pathrose, Pappayude Swantham Appoos, Sainyam, No 1 Snehatheeram Bangalore North, Indraprastham, Kaliyoonjal, and Pallavur Devanarayanan, and Mohanlal films such as Kilukkam, Uncle Bun, Yoddha, Adhwaytham, Maya Mayooram, Gandharvam, Minnaram, Manthrikam, The Prince, and Chandralekha during the Onam season. Director Fazil’s blockbuster Harikrishnans (1998), which featured the Big Ms together, also hit the screens during an Onam.

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Even after actors like Suresh Gopi and Jayaram emerged as stars, and younger actors like Dileep and Kunchacko Boban made strides, the Mohanlal-Mammootty box-office showdown remained Malayalees’ favourite clash of the titans. And most Onam seasons didn’t disappoint them. From Ravanaprabhu vs Rakshasa Rajavu and Balettan vs Pattalam, to Natturajavu vs Kazhcha and Naran vs Nerariyan CBI, vacations were truly celebratory for Malayalees.

However, as their stardom reached such great heights, they no longer needed festival windows for their movies, and makers also gradually stopped planning the release dates of Big Ms’ films accordingly. Thus, younger players gradually began eyeing the slot, ensuring that the show went on. However, Mohanlal and Mammootty films still arrived during Onam seasons occasionally.

While 2014 saw the release of Peruchazhi, Rajadhi Raja, and Sapthamashree Thaskaraha during the Onam season, 2015 had Loham, Utopiayile Rajavu, Double Barrel, and Kunjiramayanam; 2016 featured Oozham and Oppam; 2017 brought us Velipadinte Pusthakam, Adam Joan, Njandukalude Nattil Oridavela, and Pullikkaran Staraa; and 2019 had Ittymaani: Made in China, Brother’s Day, and Love Action Drama.

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Recent Onam clashes: High hype vs unexpected winners

One of the biggest Onam clashes in recent times occurred in 2023, when Dulquer Salmaan’s King of Kotha, Nivin Pauly’s Ramachandra Boss & Co, and the Shane Nigam-led RDX battled it out at the box office. Although King of Kotha arrived amid significant hype, it opened to mixed-to-negative reviews, while Ramachandra Boss earned largely negative responses. Smashing all pre-release predictions about the Onam clash, RDX emerged as a blockbuster.

In 2024, while Tovino Thomas’ ARM and Asif Ali’s Kishkindha Kandam became critical and commercial blockbusters, Antony Varghese’s Kondal tanked at the box office. Despite Mohanlal’s return to the Onam race in 2025 with Hridayapoorvam, the Kalyani Priyadarshan-led Lokah Chapter 1: Chandra emerged as the champion, even becoming the highest-grossing Malayalam film ever (Rs 303.86 crore). However, Hridayapoorvam also became a massive hit, grossing Rs 76.26 crore worldwide, according to industry tracker Sacnilk. In contrast, the Fahadh Faasil-Kalyani Priyadarshan starrer Odum Kuthira Chadum Kuthira, despite high anticipation, became a box-office bomb.

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Considering the long holidays during the season, Onam is one of the best slots for multiple releases in Malayalam cinema. Hence, the debuts of Khalifa, I’m Game, and Bethlehem Kudumba Unit in the same week only makes sense, and would also greatly help Kerala theatres. Although the usual practice for the audience is to see which film becomes the biggest hit, the situation is a bit different this time, as all three actors are in desperate need of a success in Malayalam.

Prithviraj Sukumaran: Searching for universal success after Aadujeevitham

For Prithviraj, things have largely been disappointing in Malayalam cinema, as he hasn’t had a single universally acclaimed film since Aadujeevitham (2024). Although Guruvayoor Ambalanadayil (2024) and L2: Empuraan (2025) earned big, both films received largely mixed reviews.

Meanwhile, his subsequent Vilayath Buddha (2025) bombed at the box office, and he also faced immense trolling for his cameo appearance in the Tovino Thomas-led Pallichattambi (2026). Despite high anticipation and extensive marketing, his I, Nobody (2026) also failed to resonate with audiences and underperformed at the box office (Rs 15.37 crore).

Nivin Pauly: Back to square one after post-Sarvam Maya setbacks

Despite delivering the Rs 151-crore grosser Sarvam Maya late last year, 2026 has been largely sad for Nivin Pauly, as he released two big bombs within two months of Sarvam Maya. While Baby Girl grossed just Rs 4.61 crore globally, as per Sacnilk, Prathichaya’s collection ended at Rs 8.59 crore.

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Many assumed that Nivin had finally made a comeback with Sarvam Maya after a prolonged challenging period, but the failures of Baby Girl and Prathichaya took him back to square one, thus putting immense pressure on Bethlehem Kudumba Unit to finally revive his ailing career.

Dulquer Salmaan: Why I’m Game matters so much to him

The Onam showdown is most crucial for Dulquer Salmaan, as he hasn’t had a single bona fide success on his home ground in years, despite riding a wave of success in other languages. While it is true that the actor has done only one Malayalam movie in the past five years, the failure of King of Kotha was so pronounced that it significantly affected his stardom here.

After his last box-office hit, Kurup (Rs 78 crore), Dulquer Salmaan’s sole Malayalam movie before King of Kotha was Salute, which had a direct-to-OTT release. Consequently, his fans were eagerly awaiting King of Kotha to hit the screens, particularly since it was promoted as his biggest film until then. However, the movie turned out to be a critical failure and commercial disaster, later becoming a goldmine for memers. Since Dulquer is returning to Malayalam cinema three Onams later, I’m Game’s success is crucial for him.

With just a week to go for the Onam showdown of 2026, moviegoers, theatres, and the stakeholders of the three movies are excited, and promotions are progressing at full swing. It now remains to be seen how audiences will respond to these releases.