Psychological thriller · Tamil / Malayalam
A groom's closest friends accept a free weekend retreat from a man they barely remember from college. At the guesthouse they find a game none of them has seen before. It knows every secret they have buried, and it will not let them leave until all of it is said out loud.
An Ingu Studios production · Written by Aravind Chandra & Prithivi Adithya
Act I
What horror and contained thrillers have done over the last two years, and why the numbers point to a film this size.
Evidence
Every title below is a contained or low budget genre film. The multiple shown is return on production cost. It is not profit, but it is the ratio that decides whether a film this size is worth financing.
Who bought these films
Six of these are studios or streamers whose genre strategy is built on films made for under $10 million. The last two are Indian companies doing the same thing now.
In horror, a small budget does not show
Approach
The companies that made money in this genre all did it the same way. They kept budgets low. A drama shot in one room looks like it had no money. A thriller shot in one room looks tense. The limit becomes the style, and it keeps the downside to a number a small group can afford while leaving the upside open.
Blumhouse was built on a $15,000 film shot in one house that no American festival would programme. It grossed $194 million. The company still caps original productions near $5 million, pays scale plus backend, and gives directors final cut, because at $5 million there is no committee. A24 opened in 2012 on $14 million of Guggenheim seed money. For its first years it only distributed, carrying no production risk while it built relationships and an audience that trusted the logo. It is now valued at $3.5 billion.
In 2026 this opened up to people with no industry access. Curry Barker built an audience on YouTube, made a 62-minute feature for $800, and released it free. That film got him $750,000 to make Obsession, which premiered at Toronto and sold to Focus Features for about $15 million within twenty-four hours. It beat A24 and Neon, and it was the highest price ever paid for a genre film at that festival. A24's Backrooms came the same year from a twenty-year-old with a YouTube channel.
Home market
Obsession took ₹100.96 crore gross in India with no cast an Indian audience recognises, no franchise and no local hook. It was the highest grossing Hollywood release of 2026 in this market. Its second weekend nearly matched its entire first week, which is the signature of word of mouth rather than bought opening. That is exactly how a contained thriller has to perform, and it proves the audience is here at scale.
In the South the multiples beat anything else in Indian cinema, and they are being made by first-time directors on budgets we can raise. Rahul Sadasivan went from a single-house film straight to OTT, to Bramayugam, to Diés Iraé at ₹82 crore. Three films, rising scale, one recognisable style. His producer, Night Shift Studios, is a genre specialist house in formation.
And this month Half, a Malayalam genre film, took a TIFF Midnight Madness slot and signed European sales agent Best Friend Forever for worldwide rights before its Indian release. It is the first Indian genre film to go international first. That is the route this package is built to follow.
Act II
The feature is still to be made. What follows is a proof of concept, shot to show the tone, the look and how the game plays on screen.
Proof of concept · not from the finished film
Play trailer
Story
At a sangeet, the groom's closest friends are celebrating when a guest arrives none of them expected. They realise they have invited the wrong man: someone from a different section in college, who none of them ever really knew. He is harmless enough, but what he has been posting recently unsettles everyone. He now calls himself a psychologist and a healer.
They welcome him awkwardly and get on with the night. He moves through the party calmly, almost saint-like, telling each of them how completely his life has changed and how wealthy he has become. Nobody believes a word of it. Before the evening ends he tells them the group is broken from the inside, that they need a retreat, and that he owns a resort in Kodaikanal. Everyone is drunk. Everyone agrees, and nobody means it.
Days later a WhatsApp group appears, created by him, for the weekend. They are sceptical. But the place looks extraordinary, the trip is free, and they all want a good time. Not one of them is entirely comfortable. They go anyway.
The guesthouse is everything he promised and the first evening is easy. Someone pushes him to drink. He resists, then gives in, and the calm host becomes unrecognisably loud and reckless. When the group asks for something to play, he points at a drawer. They open the wrong one, and find a game none of them has seen before. The moment it is in the room he turns sharp and tells them to put it back.
Later that night, one of them gets him drunk enough to leave him outside, and takes the game anyway. There is a rulebook. The rules are simple. Every round reveals a truth, and the players have to say who it belongs to. At first the revelations are harmless: small lies, forgotten incidents, secrets that get a laugh rather than a reaction.
Then they turn personal. Affairs. Financial fraud. Betrayals between friends. Relationships that were managed rather than lived, and things everyone believed were buried for good. When one of them tries to walk away from the game, they cannot move. There is no way out except through.
Marriages come apart. Friendships end. And the game knows things nobody outside that room could possibly know. Trapped in the guesthouse, they have to survive the remaining rounds while facing the worst of what they have done. In a game where truth is both weapon and punishment, only those willing to face themselves have a chance of getting out alive.
The idea
Nobody found this game. Somebody brought it
That is what separates Decide from the films it will be compared to.
It's What's Inside and Bodies Bodies Bodies both begin by accident: a device turns up, a party goes wrong. Decide begins with a person. Someone the group barely remembers, who has remade himself, chosen them, paid for the weekend and put them in that room. The question of why these people sits under every round, and it is the reason the film has somewhere to go after this one.
Audience
Viewers who choose films built around secrets, relationships and mind games. The same audience that took Obsession to ₹101 crore here on word of mouth alone.
Proposition
An escape room thriller where the room is not the obstacle. The people in it are. The audience plays along, guessing whose truth is on the table. That is what makes it a word-of-mouth film rather than an opening-weekend film.
Act III
At this budget the heads of department matter more than the cast. Financiers are judging whether the film will look and sound expensive, and that comes down to camera, design and sound.
Music & score
Sundaramurthy KS
Composer on 8 Thottakkal, Bommai Nayagi and Aira. Known for background scores with a strong thematic identity. In a contained thriller, the score carries half the tension.
Cinematographer
Mahesh Baradwaj
Best Documentary at the Asian Creative Awards for Karaikal Mahal. Reading Gaol selected for Camerimage 2019. Gaffer on We Are Dancers, Oscar-shortlisted. Associate on five features including Guntur Kaaram.
Director
Prithivi Adithya
Directorial debut on the bilingual sports feature Clap. Has directed advertising starring Shivarajkumar and Satyadev, and produced across multiple films. Background spans production, VFX, cinematography and design.
Writer
Aravind Chandra
Worked in the direction departments of Clap and Sshhh. Screenwriter on an upcoming feature. Builds high concept, visually driven stories, which is what this film needs.
Casting
A principal ensemble weighted to performance over recognition, with every role carrying equal weight. Casting is the single biggest decision on a film that lives in one room, which is why two weeks of rehearsal are built into the schedule.
Act IV
₹5 crore, what it buys, and what it has to return.
Budget
| Line | Amount | % | Note |
|---|---|---|---|
| Story, screenplay, development | ₹12 L | 2.4 | Draft locked before any spend commits. |
| Director fee | ₹22 L | 4.4 | Partly deferred into the backend pool. |
| Producer fee & overhead | ₹18 L | 3.6 | |
| Cast, principal ensemble | ₹78 L | 15.6 | Backend participation offered against fee. |
| Crew, HODs and unit, prep to wrap | ₹72 L | 14.4 | Includes the two-week rehearsal period. |
| Camera, lens, lighting, grip | ₹40 L | 8.0 | Long-schedule package rate; static unit. |
| Art department: guesthouse dressing, the game build, props | ₹65 L | 13.0 | The house and the game are the production value. |
| Location, unit travel, stay, catering | ₹42 L | 8.4 | Kodaikanal is remote, so this line is real. |
| Production sound | ₹9 L | 1.8 | Controlled interior; clean tracks protect post. |
| VFX: the game's interface and its effect on the players | ₹42 L | 8.4 | Designed in prep, not discovered in post. |
| Post: edit, sound design, Atmos mix, DI | ₹32 L | 6.4 | Good sound is what makes a small film feel expensive. |
| Music and background score | ₹16 L | 3.2 | Composer engaged at script stage, not at picture lock. |
| Insurance, legal, SPV, CBFC, deliverables | ₹12 L | 2.4 | |
| Contingency | ₹39 L | 7.8 | Ring-fenced. Not a spending allowance. |
| Negative cost | ₹5.00 cr | 100 |
Where the weight sits. Art department, production sound, VFX and post together take 30%, well above a normal Indian schedule at this budget. In a film with one location and no spectacle, those four lines are the only ones the audience experiences directly.
Exhibitors keep 50–70% of the ticket, so a distributor sees roughly 40% of gross. Assuming a non-theatrical floor of about ₹2 crore from OTT and satellite:
| Scenario | Negative | P&A | Non-theatrical floor | Theatrical gross to break even |
|---|---|---|---|---|
| Lean: tighter build, smaller ensemble | ₹2.50 cr | ₹40 L | ₹2.00 cr | ₹2.25 cr |
| Mid: full design, trimmed VFX | ₹3.50 cr | ₹50 L | ₹2.00 cr | ₹5.00 cr |
| As pitched | ₹5.00 cr | ₹60 L | ₹2.00 cr | ₹9.00 cr |
For context
₹9 crore gross is comfortably inside what a Tamil or Malayalam thriller does when it connects. Demonte Colony 2 reached ₹70 crore, Kishkindha Kaandam ₹77 crore, Diés Iraé ₹82 crore with an adults-only certificate. The lean and mid columns exist so a financier can choose their own risk level rather than negotiate ours.
Route to market
Three routes, in this order. The platform conversation starts first, because a verbal yes before the shoot sets the floor for everything else.
Route 1: platforms first
Take the proof-of-concept trailer and the script to the streaming platforms now, ahead of principal photography, and work towards a verbal commitment before the camera turns over. The trailer exists precisely so this conversation can happen on the strength of something watchable rather than a pitch document.
Two structures are on the table, and we are open on both. Post-theatrical: the film opens in cinemas and the platform takes it at week 6 to 8, which protects the theatrical upside. Direct to platform: the film goes straight to streaming for a single agreed number, which removes P&A and release-date risk entirely. Numbers get discussed once there is interest in the room.
Route 2: festival premiere
Lock picture by month four, then the genre circuit in premiere order: SXSW Midnighters (March), Fantasia and BIFAN (July), TIFF Midnight Madness and Fantastic Fest (September), Sitges (October). One world premiere, held for the strongest slot offered.
Sales agents approached before the premiere, not after: Best Friend Forever, XYZ Films, Raven Banner, Yellow Veil, Blue Finch. Having an agent signed before the screening is what gets competing offers on the night. That is how Obsession and Half were sold. A festival selection also raises the number a platform will pay.
Route 3: India theatrical
Tamil and Malayalam theatrical on 250–400 screens with ₹50–60 lakh of P&A, released into a clear week rather than a big one. India has roughly 10,033 screens and the number is not growing. Getting screens, not marketing spend, is what decides a small release.
Festival selections do the marketing, which is how a film with no stars gets noticed. Satellite and any remaining digital rights close alongside the platform deal. The three routes are complementary: a theatrical run and a festival premiere both raise what the platform pays.
Terms
Structure
Why the budget holds
Decide
Are you game?
Ingu Studios · Aravind Chandra & Prithivi Adithya