Not just a tease: The trailer is the movie’s real first act

The trailer of a film is just as important as the film itself. Maybe more. It’s the first impression, a preview of trust, that can intrigue audiences or push them away. “A trailer isn’t just about drawing people in, it’s about setting the emotional contract,” says director Shakun Batra, who admits the trailer of Gehraiyaan (2022) “created a lot of hype but made the wrong promise” to the audience.

Something similar happened with Celine Song’s The Materialists, marketed as a fun rom-com but actually a thoughtful reflection on dating and self-worth. Meanwhile, when Kalki 2898 AD dropped multiple teasers, two trailers, and character promos, Reddit users were left wondering: “What’s left to watch?”

So what makes for a good trailer — one that intrigues without misleading or spoiling? Filmmaker Hansal Mehta posed a timely question on X, “Shouldn’t a good trailer stir curiosity? Shouldn’t compelling promo units and — most importantly — a good film or series be enough?”

In many ways, trailers are sales pitches disguised as entertainment. “Trailers are one of the most important assets one can have for a movie,” says Chinni Nihalani, a trailer editor and founder of a promo company. He calls it a “mini, sub-industry within the film industry.” There's even a dedicated award ceremony in the US called the 'Golden Trailer Awards'.

In a world where audiences are drowning in content, trailers help decide what to watch. A 2023 report by Boston Consulting Group (BCG) and Meta revealed that viewers across OTT, TV, and theatres consider trailers and teasers their top reason for choosing content — ranking above reviews, promos, or star power.

'Sell the feeling, not the plot'

Crafting a trailer is a "delicate dance", says Shakun. “The key is to sell the feeling, not the plot,” he explains. A trailer, he believes, shouldn’t just outline what happens, but convey what it feels like to live in that world. “There’s always pressure to give more so audiences know what they’re walking into, but sometimes, giving more takes away the invitation to discover.”

The process often begins with a film's rough cut. “First, I watch it as an audience member and mark the hook — those standout shots and dialogues,” says Anoop Vilakkadan, a freelance trailer editor. For films without stars, longer cuts are preferred. “There’s no time cap — just whatever pulls people in,” adds Ravi Padda, who has cut trailers for Lagaan, Koi Mil Gaya, Dabangg, and more recently, Badass Ravikumar.

Chinni Nihalani, who’s worked across Hindi and South Indian cinema, likens trailers to short films. “There’s a lot of basic writing that goes into it. Then there’s editing, sound, music… It really takes all departments to put out an ad for a film. It is not a one-person job. It is a collaborative effort.”

'When big stars lead a film, the trailer doesn’t need to reveal much'

Aamir Khan didn't want Lagaan's trailer to reveal about the cricket match in the film and Farhan Akhtar also had specific instructions for the trailer of Shah Rukh Khan-led Don 2.

The trailer for Lagaan had a very specific brief. "Aamir Khan didn't want a single shot suggesting there is a cricket match in the film. Let that be the twist for the viewers,” says Ravi Padda. The team signed an NDA and took three months to crack the trailer’s first look.

Sometimes, less is more. “In Don 2, Don plans to rob a bank in the second act, but Farhan [Akhtar] didn’t want that revealed. So we built intrigue around his jailbreak, showing everyone reacting like, ‘What’s he up to?’ With a major star like SRK, we didn’t need to show much — just build the mystery," recalls Chinni.


When big stars lead a film, the trailer doesn’t need to reveal much — just their presence and aura can do the heavy lifting. “You have the liberty to conceal the plot and simply build the star,” says Chinni. But with smaller films or lesser-known faces, the story needs to be front and centre. “For CA Topper, a Netflix film about an accountant-turned-gigolo, we had to spell out the plot to get people interested,” he adds.

'If you sell one experience and deliver another, people feel misled'

Shakun believes a trailer sets an expectation. “A great trailer shapes decisions—especially today, where attention is fractured. But it also has to speak to the soul of the project. If it’s compelling but not truthful, it becomes a short-term win and a long-term mismatch.'If you sell one experience and deliver another, people feel misled.”

Anoop recalls directors occasionally asking for a tone shift to appeal to a broader audience. “Sometimes, a violent action drama is sold as a family film. It may even work—audiences get more than expected.”

He adds that briefs are more common when directors reach out directly. “They say things like: don’t reveal the villain, don’t show the cameo, or make it subtler than the film actually is.”

Why do filmmakers need separate trailer editors?

“Because editors and directors are not able to detach themselves from the film,” says Ravi. “An editor is very close to the film, and to promote it, you need an outside eye. Hence, it has become a specialised job.”

How much is too much?

From teasers and trailers to behind-the-scenes reels and music drops, movie marketing today is a full-blown blitz. But are audiences being overwhelmed?

“Sometimes it’s not a creative call, it’s business,” says Chinni. “Music companies demand promo slots. If you have five songs and each gets a three-minute promo, plus a trailer and teaser, that’s already 20 minutes of the film out there. It has to be done tactfully.”

Shakun agrees that trailers now exist within a larger emotional campaign. “You’re not just selling a story — you’re inviting people into its world through cast interviews, reels, BTS clips, and music teasers.”