Imagine a four-minute trailer that defies every rule in the book, yet captivates millions. That’s exactly what the Dhurandhar trailer did, leaving audiences and industry insiders alike scratching their heads—in the best way possible. But here’s where it gets controversial: Ranveer Singh, the film’s lead, appears for a mere one minute at the very end. Isn’t that a recipe for disaster? Not quite. In fact, it’s a masterclass in trailer-making that challenges everything we thought we knew about marketing a blockbuster.
In the world of cinema, the trailer is often the only conversation a film has with its audience before release. It’s a high-stakes blend of marketing savvy and storytelling artistry. As Vijay Krishna Acharya’s Tashan memorably quipped through Anil Kapoor’s character, ‘First impression is the last impression.’ While this phrase has been debated and dismissed over time, it reigns supreme in the realm of trailers. Today, with box office returns unpredictable, tentpole films struggling to sustain momentum, and independent films fighting for screen space, the pressure on trailer designers has never been greater. It’s no longer just on directors and producers—editors are now in the hot seat too.
Rajeev Chudasama, founder of MA+TH Entertainment, a content marketing agency behind several high-profile trailers, including Dhurandhar’s, puts it bluntly: ‘The first-day numbers are largely determined by the trailer. That weight is on us too. Directors and producers constantly remind us that the trailer needs to cut through the noise.’ And cut through it did. Within hours of its release, the Dhurandhar trailer became a cultural phenomenon, dissected and debated across platforms. Its opening-day collection of Rs 28 crore is a testament to its impact—a feat made even more remarkable by its unconventional four-minute-and-eight-second runtime.
Long trailers are often seen as a gamble, testing audiences’ patience and risking ridicule. Remember the 4.58-minute trailer for Singham Again? Exactly. But Dhurandhar’s trailer, crafted by filmmaker Aditya Dhar, his brother-in-law Ojas Gautam (credited as the editor), and the team at MA+TH Entertainment, defied expectations. It didn’t spell out the story; it invited you to piece it together. And this is the part most people miss: It broke nearly every established trailer norm, from its non-linear structure to its delayed reveal of the lead actor.
Sahil Kajale, head of visual promotions at Warriors Touch, another leading agency, explains why it worked. ‘There’s no fixed length for a trailer,’ he says. ‘What matters is whether it holds attention. A one-minute trailer can feel exhausting, while a four-minute one can be riveting if the material is strong. Dhurandhar proves that.’ According to Kajale, the trailer’s success lies in its defiance of convention. It ditches the typical three-act structure, offers no clear story, and introduces characters without explaining their relationships. Ranveer Singh’s late appearance? A bold move that flips traditional logic on its head. Data often dictates that the hero should appear early, but Dhurandhar dared to be different—and it paid off.
But here’s the real question: Can this approach work for every film? Or is it a one-off success? Let’s dive deeper.
Sound, as Kajale points out, is often the unsung hero of a trailer. ‘The audio you pair with visuals can completely change the response,’ he notes. This was evident in Dhurandhar’s use of ‘Jogi’ in the first look and the subtle qawwali scratch at the trailer’s end. These choices made people pause and pay attention. Kajale cites another example: the trailer for Vikramaditya Motwane’s Trapped, which relied almost entirely on ambient noise, score, and sound effects. ‘It’s all about what you decide to cut with—voice-over, music, or sound effects,’ he says. ‘That choice shapes how the film is perceived.’
This principle is echoed in Yash Chopra’s Jab Tak Hai Jaan, where the trailer was built around a poem narrated by Shah Rukh Khan and penned by Aditya Chopra. Mohit Sajnaney, the editor, recalls, ‘Adi sir was clear that the trailer had to move with that narration. It was about placing the best moments within it.’ Similarly, for War 2, the trailer was structured around voiceovers by Hrithik Roshan and Jr NTR, created specifically for the promo. Nilesh Kataria of MA+TH Entertainment shares a similar story from Cocktail, where Honey Singh’s ‘Angrezi Beat’ was used to transform the trailer’s tone—so successfully that the song was added to the film itself.
But here’s where it gets controversial again: Is sound manipulation ethical, or does it risk misleading audiences? Should trailers rely on elements not in the film to create hype? Share your thoughts in the comments.
The balance between world-building and star presentation is another critical factor. Mohit Sajnaney, who’s worked on films like Dhoom 3 and Pathaan, explains, ‘The trailer’s shape depends on genre, tone, and directorial intent. For Dhoom 3, the focus was on showcasing Aamir Khan in a slick action franchise while holding back enough for the theater.’ In contrast, Pathaan’s trailer aimed to re-establish Shah Rukh Khan’s presence while introducing the spy universe. This year’s surprise hit, Saiyaara, took a different approach, focusing on setting and music rather than star projection. ‘The balance shifts with each project,’ Sajnaney notes. ‘Sometimes the idea itself is strong enough to pull people in, like in Fan. Other times, the twist needs to be protected, as with Saiyaara.’
Sahil Kajale adds that the approach varies depending on whether the film is character-driven or visually focused. For Raman Raghav 2.0, the trailer opened with Nawazuddin Siddiqui’s monologue, while Goliyon Ki Raasleela Ram-Leela followed a three-act structure to showcase its setting, conflict, and stars. Anurag Kashyap’s Kennedy, on the other hand, was a character-led cut, focusing on the protagonist’s journey and interior state.
And this is the part most people miss: Trailer-making isn’t just an art—it’s a science. Rajeev Chudasama sums it up: ‘Trailer cutting is the hardest part. There’s no fixed rule. It’s a room full of voices, each with an opinion. In the end, it comes down to the director’s or producer’s instinct. But creativity alone isn’t enough—there’s a method to the madness.’
So, the next time you watch a trailer, ask yourself: What choices did the creators make? What did they reveal—and what did they hide? And most importantly, do you think the Dhurandhar approach could become the new norm, or is it a one-time wonder? Let us know in the comments—we’re all ears!
