The game, lit on its stand at the guesthouse

Psychological thriller · Tamil / Malayalam

Decide

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

Budget₹5.00 crore
Schedule25 days · one main location
Delivery4 months
StatusProof of concept shot · seeking finance

Act I

The market

What horror and contained thrillers have done over the last two years, and why the numbers point to a film this size.

₹100.96crObsession, India gross 2026. Made for $750,000. No stars, no franchise.
$389.7mBackrooms worldwide, on a $10m budget. The biggest film in A24's history.
₹6,000cr+India box office, first half of 2026. Up over 12% on a record 2025.
$17mNetflix paid this for It's What's Inside. One house, three days after its premiere.
01

Evidence

Comparable films

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.

Obsession poster
Obsession$750K → $330M440×
Backrooms poster
Backrooms$10M → $389.7M39×
Paranormal Activity poster
Paranormal Activity$15K → $194M12,900×
It's What's Inside poster
It's What's Inside$2.5M → $17M sale6.8×
Bodies Bodies Bodies poster
Bodies Bodies Bodies$3M → $13.9M4.6×
Talk to Me poster
Talk to Me$4.5M → $92M20×
Romancham poster
Romancham₹3cr → ₹65cr20×
Kishkindha Kaandam poster
Kishkindha Kaandam₹7cr → ₹77cr11×
Demonte Colony 2 poster
Demonte Colony 2₹18cr → ₹70cr
Bramayugam poster
Bramayugam₹27.7cr → ₹58.7cr2.1×
Diés Iraé poster
Diés Iraé₹82.18cr grossA-cert

Who bought these films

A24BlumhouseFocus FeaturesNeonNetflixUniversalNight Shift StudiosMaddock

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.

A player mid-round, working out whose truth is on the table

In horror, a small budget does not show

02

Approach

Why low budgets work

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.

Both got funded on the strength of something made for almost nothing. Ours is shot and you can watch it below.
03

Home market

The Indian 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.

FilmBudgetGrossReturn on cost (log scale)×
Paranormal Activity US · one house
$15K
$194M
12,900×
Obsession US · 2026 · ₹101cr in India
$750K
$330M
440×
Backrooms A24 · 2026
$10M
$389.7M
39×
Romancham Malayalam · one house
₹3 cr
₹65 cr
20×
Talk to Me A24 · 2023
$4.5M
$92M
20×
Kishkindha Kaandam Malayalam · 2024
₹7 cr
₹77 cr
11×
It's What's Inside Netflix sale · our comparable
$2.5M
$17M
6.8×
Bodies Bodies Bodies A24 · our comparable
$3M
$13.9M
4.6×
Demonte Colony 2 Tamil · 2024
₹18 cr
₹70 cr
Bramayugam Malayalam · 2024
₹27.7 cr
₹58.7 cr
2.1×

Act II

The film

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.

Two of the players face to face during a round

Proof of concept · not from the finished film

Play trailer

04

Story

The 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.

Hands on the game, found in a drawer at the guesthouse

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

18–40, urban and semi-urban

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

The players are the puzzle

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

Who is making it

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.

Sundaramurthy KS

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.

Mahesh Baradwaj at camera

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.

Prithivi Adithya

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.

Aravind Chandra

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.

The group together at the guesthouse

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

The numbers

₹5 crore, what it buys, and what it has to return.

05

Budget

Where the money goes

LineAmount%Note
Story, screenplay, development₹12 L2.4Draft locked before any spend commits.
Director fee₹22 L4.4Partly deferred into the backend pool.
Producer fee & overhead₹18 L3.6
Cast, principal ensemble₹78 L15.6Backend participation offered against fee.
Crew, HODs and unit, prep to wrap₹72 L14.4Includes the two-week rehearsal period.
Camera, lens, lighting, grip₹40 L8.0Long-schedule package rate; static unit.
Art department: guesthouse dressing, the game build, props₹65 L13.0The house and the game are the production value.
Location, unit travel, stay, catering₹42 L8.4Kodaikanal is remote, so this line is real.
Production sound₹9 L1.8Controlled interior; clean tracks protect post.
VFX: the game's interface and its effect on the players₹42 L8.4Designed in prep, not discovered in post.
Post: edit, sound design, Atmos mix, DI₹32 L6.4Good sound is what makes a small film feel expensive.
Music and background score₹16 L3.2Composer engaged at script stage, not at picture lock.
Insurance, legal, SPV, CBFC, deliverables₹12 L2.4
Contingency₹39 L7.8Ring-fenced. Not a spending allowance.
Negative cost₹5.00 cr100

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.

What it has to gross

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:

ScenarioNegativeP&ANon-theatrical floorTheatrical 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.

06

Route to market

Distribution

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.

07

Terms

Investor terms

  1. Distribution and sales costs, off the topSales agent commission, delivery, festival and P&A expenses, recovered before anything else.
  2. Investor capital returned, 100%Every rupee of the negative cost back to the investor pool before profit is recognised anywhere.
  3. Priority premium, a further 20% for 120% totalThe standard Indian independent success premium, paid ahead of all creative deferrals.
  4. Deferred creative feesDirector, producer and cast fees knocked out of the negative cost are made whole here.
  5. Net profit split, 50/50Half to the investor pool pro rata, half to the producer and creative backend pool.

Structure

  • Single purpose SPV. It owns one asset and cannot be reached by anything else
  • Audited accounts; quarterly reporting through theatrical, OTT and residuals
  • Investor approval on any overrun above 10%
  • Maximum loss is the cheque, capped and stated up front

Why the budget holds

  • One main location for the bulk of the schedule, so no company moves and no weather exposure
  • Two weeks of rehearsal fixed in the schedule before the camera turns over
  • The game's visual language designed in prep, so nothing is worked out in post
  • Contingency ring-fenced at 8%, and the release date chosen as carefully as the cast
A player, mid-game

Decide

Are you game?

Ingu Studios · Aravind Chandra & Prithivi Adithya