| Marathi cinema | |
|---|---|
.svg) | |
| No. ofscreens | Approx 610 inMaharashtra state of India.[1] |
| Main distributors | Aatpat Production Rasika Productions Dreaming 24/7 Productions Almonds Creations Everest Entertainment Pickle Entertainment and Media AP Communications Swarali Films Creation Six Sense Film Production Mulakshar Productions Planet Marathi |
| Produced feature films (2022)[2] | |
| Total | 120 (Theatrical) |
| Gross box office (2023)[3] | |
| National films | India:₹201 crore (US$23 million) |
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Marathi cinema is the segment ofIndian cinema dedicated to the production of motion pictures in theMarathi language widely spoken in the state ofMaharashtra. It is based inMumbai. It is the oldest film industry of India and one of the leaders infilmmaking in the Indian film industry.[4]
Raja Harishchandra, directed byDadasaheb Phalke and released in 1913, was the first Marathi-language film ever made, and was also India's first full-lengthfeature film. The claim is disputed and some claim thatDadasaheb Torne'sShree Pundalik (1912) was the first film made in Maharashtra.[5][6][7] The first Marathitalkie film wasAyodhyecha Raja,[8] released in 1932, one year afterAlam Ara, the firstHindi talkie film. All Marathi films until then weresilent films withintertitles.Pinjara (1972), directed byV. Shantaram, was first colour film in Marathi cinema.[9]
Kolhapur was a centre for film production during the 20th century, though currently, a majority of films are made in Mumbai.[4] During Marathi cinema's infancy between the 1910s and 1930s, which only had silent films, the majority of films were made onHindu mythological subjects. Later during the 1970s, films were made on rural stories. Between the 1980s and 1990s,comedy andthriller films started to flourish. Since the turn of the millennium, there have been films based on social subjects and biographical dramas. Although the industry is much smaller thanHindi cinema (which is also based in Mumbai), Marathi cinema is tax free at the privilege of theGovernment of Maharashtra, and is experiencing growth in recent years.
Marathi cinema is the oldestfilm industry in India.[4]Dadasaheb Phalke is widely considered a pioneer and founder of Marathi cinema andCinema of India.[10] He brought the revolution of motion pictures to India with his first indigenously made film,Raja Harishchandra, released in 1913. Although the film had Marathi and Englishintertitles, it is considered a Marathi film byIFFI and NIFD,[clarification needed] citing that while filming, Phalke had employed a full Marathi crew, including actors.[11] Some claim that the first ever Marathi movie wasShree Pundalik ofDadasaheb Torne; it was released on 18 May 1912 atCoronation Cinematograph, Bombay.[6] But this claim is disputed; it is not considered the first Marathi or Indian film because it was not a movie in the true sense; it was a recording of a then popular theater play; the cameraman who filmed that movie, Jonson, was a British national; it was processed inLondon; and the negative also remained in theUnited Kingdom.[7]
Kolhapur was a centre of film production in the twentieth century.Maharashtra Film Company'sSairandhri(1920), starringBalasaheb Pawar,Kamala Devi and Zunzarrao Pawar, was the first Indian film to cast women artists.[12] Notably,Sairandhri became the first Indian film to facecensorship by the British Government.[13] Because of his special interest in sets, costume design and painting, he chose episodes from Maratha history for interpreting in the new medium and specialized in the historical genre.[14] Baburao Painter made many silent movies till 1930, includingSurekha Haran (1921), for which he brought the best camera of the time, manufactured byBell & Howell, andSavkari Pash (Indian Shylock) in 1925, a social film based on a short story byNarayan Hari Apte. Baburao was not particularly keen on the talkies, for he believed that they would destroy the visual culture so painfully evolved over the years.[15]
Ayodhyecha Raja (1932), directed byV. Shantaram was the firsttalkie of Maharashtra and also the first double version talkie ofIndian cinema; prior to it, all the movies weresilent films with Marathi and English intertitles. It was released one year after the first sound film of the nation,Alam Ara (1931), and five years after the firstHollywood sound film,The Jazz Singer (1927), which is the first sound film made in the world.[16][17]Bhalji Pendharkar'sShyam Sundar was the first talkie to be made in Pune and apparently the first Indian film with a continuious run of more than 25 weeks at West End (present Naaz Talkies, Mumbai).
As cinema grew in the Union of India, major production houses rose, and one of them was again a company owned wholly byMaharashtrians, thePrabhat Film Company. Prabhat'sSant Tukaram (1936) was the first Indian work to win the Best Film Award at theVenice Film Festival in1937.[18] In 1954, at the very first edition of the National Awards,Shyamchi Aai won the first President's Gold Medal for Cinema. It was directed byAcharya P. K. Atre, and it was an adaptation of the eponymous novel bySane Guruji.[19] Marathi cinema was in its full bloom by this time with the advent of greats like V. Shantaram,Master Vinayak, Bhalji Pendharkar andAcharya Atre, followed byRaja Paranjpe,Dinkar D. Patil,G. D. Madgulkar,Sudhir Phadke andRaja Thakur.
The 1960s saw the emergence of directors such asV. Shantaram andAnant Mane, who made Marathi films based on the folk art formTamasha. Mane’sSawaal Majha Aika! (1964), marked his third Best Feature Film Award win and featured many popular songs.[20] Shantaram'sPinjra (1972) was a major hit, becoming one of the biggest commercial successes of its time, and ran for an impressive 134 weeks inPune. It was also the first Marathi film to be made in color.[21][9]
Directors like Datta Dharmadhikari andRajdutt later gained popularity for their traditional family dramas. Noteworthy films from this period include the family dramaManini (1961), the historical fictionMohityanchi Manjula (1963) by Bhalji Pendharkar and the dramaAamhi Jato Amuchya Gava (1968), which took six years to make, was a big success upon release, while the comedyPandu Havaldar (1975) broughtAshok Saraf into recognition.[22]
By the early 1970s,Dada Kondke captured audiences with his distinct style of ribald humor, often incorporatingsexual innuendo. His first film in this genre,Songadya (1971), was loosely inspired by Tamasha and featured a seductive heroine, a bumbling yet innocent hero, and dialogue filled with innuendo and sexual puns. Kondke's films, blending humor with social and political satire, became cult classics.[23] Around the same time,Jabbar Patel'sSamna (1974) marked a pivotal shift in Marathi cinema, offering a profound critique of systemic corruption and social inequities, further broadening the scope of the industry.
By this time, Marathi cinema largely gravitated towards either Tamasha-based films or traditional family dramas, alongside Kondke's signature comedies.[24]
The mid-1980s saw two comedy heroes raised to stardom,Ashok Saraf andLaxmikant Berde, become popular superstars. In the mid '80sMahesh Kothare andSachin Pilgaonkar made many box-office hit films. Kothare used to makeaction-comedy-thriller genre movies, while Pilgaonkar used to make mainly comedy movies. Pilgaonkar made hit classics such as buddy filmsGammat Jammat (1987),Ashi Hi Banwa Banwi (1988), the latter becoming one of the highest-grossing Marathi films of its time, earning ₹3 crores. He also directed the supernatural revenge dramaBhutachaBhau (1989), feel good movieAayatya Gharat Gharoba (1991),Aamchya Sarkhe Aamhich (1990),[25][26] and around the same time Kothare made hit filmsDhoom Dhadaka (1985),Dhadakebaaz (1990),DeDanadan (1987), and horror-thrillerZapatlela (1993), which was an unofficial remake of Hollywood cult classicslasher filmChild'sPlay (1988).[27] He introduced technological advancements, such as the fact that he was the first director who filmed his movie inCinemaScope, usedchroma key technique and didwire-flying inDhadakebaaz, usedpuppetry inZapatlela, he filmedZapatlela's sequel in3D format, probably this film was the first eversequel film made in Marathi cinema, and ventured into film genres such ashorror comedy, thriller, andfantacy.[28] Both Kothare and Pilgaonkar acted and directed their respective films; latter even sang many songs for his movies. Other directors also made entertaining movies during this period, includingBin Kamacha Navra (1984),Amhi Doghe Raja Rani (1986),Kalat Nakalat (1989),Chaukat Raja (1991),Ek Hota Vidushak (1992) andSawat Mazi Ladki (1993).[29] Following the significant success ofMaherchi Sadi (1991), starringAlka Kubal, which grossed a record ₹12 crores and became a landmark in Marathi cinema, the industry experienced a wave of family drama films. This surge saw filmmakers exploring relatable themes centered around family dynamics, societal values, and emotional narratives, further solidifying the family drama genre's popularity in Marathi cinema.[30]
While the theatre ofMaharashtra earned recognition at the national level, the cinema failed to make a mark. A major reason was the proximity to the production centre of Hindi cinema, which encroached on the identity of Marathi cinema. Other reasons include the shortage of cinema halls for distribution due to poor marketing, a lack of money magnets, a vibrant theatre scene, and the emergence of private television. It also lacked the powerful lobby at the national level, unlikeSouth Indian cinema, because the state encouraged Hindi cinema for profit mainly; the regional film industrial advantage being soaked up by Hindi cinema.[19]
In the mid-2000s, Marathi cinema explored a range of compelling themes through films that resonated with audiences.Not Only Mrs. Raut (2003) highlighted women's struggles against exploitation, whileAga Bai Arrecha! (2004) humorously depicted a man's frustration with city life and his ability to hear women's thoughts.Saatchya Aat Gharat (2004) tackled the serious issue of sexual assault, andDombivli Fast (2005) followed a middle-class man’s fight against corruption and injustice.Uttarayan (2004) told a touching story of elderly love,Jatra: Hyalagaad Re Tyalagaad (2006) revitalized the comedy genre, andSaade Maade Teen (2007) became a cult classic, one of the highest-grossing Marathi films of the era.[31] Despite the success of these films, it wasShwaas that truly put Marathi cinema on the national map. Winning the Golden Lotus National Award and becomingIndia’s official entry for the Academy Awards, it marked a turning point and symbolized the industry’s potential for global recognition. It won the President's Medal for best film, beating Bollywood's prolific output with quality.[32]Shwaas was the second Marathi film to win the President's Medal afterShyamchi Aai (1950).
In 2009,Harishchandrachi Factory (with a budget of Rs. 6 crore) told the struggle ofDadasaheb Phalke in makingRaja Harishchandra (1913), directed by theatre-veteranParesh Mokashi. It was selected as India'sofficial entry to theAcademy Award in theBest Foreign Language Film category, making it the second Marathi film, afterShwaas, to receive this honour.[33][34][35]
Road filmDe Dhakka (2008),satire filmNishani Dava Anghatha (2009) based on failure of government of India's adult education program, political satireGallitGondhal Dillit Mujra (2009), film raising state's farmar's issue, rampant corruption in government officials, satireJau Tithe Khau (2007),Kaydyach Bola (2005) and the social dramaJogwa (2009) made impacts on the audience's mind during this period.[21]
Since the beginning of the new decade in 2010, Marathi cinema has witnessed a remarkable resurgence with the release of several contemporary artistic films, includingVihir (2009),Deool (2011),Mala Aai Vhhaychy! (2011),Fandry (2013),Ek Hazarachi Note (2014),Elizabeth Ekadashi (2014),Ventilator (2016), andMulshi Pattern(2018), which have collectively given a new direction to Marathi films. Noteworthy films such asNatarang (2010),Shikshanachya Aaicha Gho (2010),Kaksparsh (2012),Duniyadari (2013),Lai Bhaari (2014),Timepass (2014),Katyar Kaljat Ghusali (2015), andNatsamrat (2016) achieved both commercial success and critical acclaim.[36][37] The latter became the first Marathi film to cross the ₹50 crore (approximately $7.8 million) mark during its theatrical run.[38] During this decade, several films sparked controversies, includingZenda (2010),Lalbaug Parel (2010),Mee Shivajiraje Bhosale Boltoy (2010),Sanngto Aika (2014),Nude (2018), andDashakriya (2017), which ignited discussions by touching upon sensitive issues like caste, religion, politics, and societal norms.[39]
The decade also marked the rise of biographical films such asMee Sindhutai Sapkal (2010),Balgandharva (2011),Dr. Prakash Baba Amte (2014),Lokmanya: Ek Yugpurush (2015),Ekk Albela (2016),Ani... Dr. Kashinath Ghanekar (2018), andAnandi Gopal (2019). Moreover, the adult comedy genre gained prominence with films likeNo Entry Pudhe Dhoka Aahey (2012),Takatak (2019), andBoyz (2017). The superhero genre was introduced withBaji, the first film of its kind in Marathi cinema. In the late 2010s, historical films began to gain attraction, particularly through the works of directorDigpal Lanjekar, who created a series titledShri Shivraj Ashtak, focusing on theMaratha Empire.
Deool, directed byUmesh Vinayak Kulkarni, made history by becoming the third Marathi film to win the National Film Award for Best Feature Film, followingShyaamchi Aai andShwaas.[40] Its sequel,Deool Band (2015), also garnered significant attention from audiences. Acclaimed directorDr. Jabbar Patel emphasized the transformative nature of contemporary Marathi cinema, stating, "The kind of Marathi cinema that is being made today is very fresh and different. This is thanks to directors and writers getting exposed to world cinema via television and film festivals. They are coming up with new storylines and innovative concepts." With the outstanding contributions from various producers and directors within the Mumbai film industry, Marathi cinema notably outshone other Indian film industries, in box office collections and critical appreciation during the first quarter of 2010.[41]
The landmark filmSairat (2016), a romantic drama directed byNagraj Manjule and starringRinku Rajguru andAkash Thosar, emerged as a game-changer, becoming the biggest weekend opener for a Marathi film and breaking records previously held byNatsamrat.[42]Sairat was the first Marathi film to gross over ₹100 crore (approximately $16 million) worldwide, solidifying its status as a cultural phenomenon.[43] The decade saw directors such asNagraj Manjule,Ravi Jadhav,Satish Rajwade,Aditya Sarpotdar andSanjay Jadhav making significant contributions to the industry.[44]
TheCOVID-19 pandemic had a profound impact on the Marathi film industry, as it did on cinema worldwide. With theaters closing and production halting, many films scheduled for release were postponed, leading to significant financial losses for filmmakers and production houses.[45] Approximately 110 Marathi language films remained unreleased due to the pandemic. The pandemic forced the industry to adapt rapidly, embracing digital platforms for film releases, which allowed filmmakers to reach audiences. Films likeWell Done Baby (2021) andThe Disciple (2021) were released straight on streaming platforms.[46][47] Additionally,Picasso, directed by Abhijeet Mohan Warang, was the first Marathi film to have a direct digital release.[48] It also marked the first time a Marathi film documentedDashavatara, an early form of folk theatre, in its original style.[49]
As theaters reopened, the industry shifted its focus toward innovative storytelling and a variety of genres. The ensemble filmJhimma became the first to release in theaters post-pandemic, achieving significant success by running for 50 days, ultimately grossing over ₹14.07 crore.[50][51] The following year 2022, is considered as one of the most successful year as many films were hit. The year highlighted a diverse range of genres, including the zombie comedyZombivli, the historical actionPawankhind, the musical romanticChandramukhi, the thrillerY, and the accidental dramaAnanya.[52] The year concluded withRitesh Deshmukh's blockbuster filmVed, which grossed ₹75 crore (approximately $9.0 million), making it one of the highest-grossing Marathi films of all time.[53] Additionally,Pondicherry became the first Marathi film to be entirely shot on smartphone,[54] whileHar Har Mahadev made history as the first Marathi film to be released in Telugu, Tamil, and Kannada languages.[55] Throughout the decade, the industry continued to produce biographical, comedy, drama, and historical films, but woman-centric films reached new heights. Notably,Kedar Shinde'sBaipan Bhaari Deva, centered around six elderly sisters, became the second highest-grossing Marathi film of all time, grossing over ₹92 crore and making history as the first female-centric movie to achieve such success.[56]
In the early days of Marathi cinema, theater experience was essential for actors.Dadasaheb Phalke, regarded as the father of Indian cinema, laid the foundation with his pioneering filmRaja Harishchandra in 1913. During this period, acting styles in Marathi films were heavily influenced by stage performances.[57]
With the advent of sound in the 1930s, a shift toward more naturalistic acting emerged in Marathi cinema, although traces of the theatrical style remained.V. Shantaram, a prominent actor-director of the era, introduced a more refined approach to acting.[58] Renowned actors of this time includedShanta Apte,Durga Khote,Lalita Pawar,Meenakshi Shirodkar,Shobhna Samarth,Chandrakant Mandare,Shahu Modak,Master Vinayak, andBaburao Pendharkar.[59]
Following India's independence, Marathi filmmakers began to focus onmythology and pressingsocial issues such as caste discrimination, women's rights, and the struggles of rural populations. The 1950s and 1960s are often considered the golden era of Marathi cinema, with filmmakers likeV. Shantaram,Bhalji Pendharkar,Anant Mane,Raja Paranjape, andRaja Thakur creating impactful works.[60] Notable actors of this period includedSulochana Latkar,Sandhya,Hansa Wadkar,Usha Kiran,Chandrakant Gokhale,Raja Gosavi,Suryakant Mandhare, andRamesh Deo. Rising to fame in the late 1950s,Jayshree Gadkar became one of the most influential actresses of the 1960s after her memorable performance inSangtye Aika.[61] In recognition of Marathi cinema, the Maharashtra government launched the annualMaharashtra State Film Awards, withPrapanch being the first film to win theBest Film award.Anant Mane is also credited for sustaining Marathi cinema with his groundbreaking work onTamasha films.[62]
The 1970s saw the rise ofDada Kondke, who became a leading figure by producing and directing hit films likeSongadya,Ekta Jeev Sadashiv,Andhala Marto Dola,Pandu Havaldar,Tumcha Aamcha Jamala,Ram Ram Gangaram,Bot Lavin Titha Gudgulya,Aali Angavar, andHyoch Navra Pahije. He holds aGuinness World Record for delivering nine silver jubilee hits at the box office.[63] This decade also introduced notable actors such asSmita Patil,Usha Chavan,Usha Naik,Asha Kale,Anjana Mumtaz,Nilu Phule,Kashinath Ghanekar,Shriram Lagoo,Ravindra Mahajani, andVikram Gokhale.[64]
The 1980s were dominated byAshok Saraf andLaxmikant Berde, who were regarded as the superstars of Marathi cinema.[65]Ashok Saraf featured in over 300 films, portraying a variety of leading roles, whileSachin gained widespread recognition for his filmAshi Hi Banwa Banwi, which became the first Marathi movie to gross 30 million at the box office.[66]Mahesh Kothare is also credited for introducing the firstcinemascope film,Dhadakebaaz, in 1990.[67] Other notable personalities from the 1980s and 1990s includeNana Patekar,Ajinkya Deo,Nitish Bharadwaj,Prashant Damle,Ramesh Bhatkar,Sachin Khedekar,Ranjana,Varsha Usgaonkar,Nivedita Joshi,Supriya Pilgaonkar,Ashwini Bhave,Priya Berde,Alka Kubal,Sonali Kulkarni,Neena Kulkarni, andMrinal Kulkarni.
In more recent times, actors likeUpendra Limaye,Girish Kulkarni andVikram Gokhale have garnered critical acclaim, with receiving theNational Film Award for acting.[68] Contemporary figures such asNagraj Manjule,Ashutosh Gowariker,Makarand Deshpande,Atul Kulkarni,Mahesh Manjrekar,Ashok Saraf,Laxmikant Berde,Sadashiv Amrapurkar,Siddharth Jadhav,Shreyas Talpade,Shivaji Satam,Mrunal Thakur,Radhika Apte,Sai Tamhankar,Urmila Matondkar,Sonali Bendre,Amruta Khanvilkar,Renuka Shahane,Sharvari,Rohini Hattangadi andReema Lagoo have achieved national recognition for their contributions to cinema.[69]
Phalke Films Company is considered the first production house in Indian cinema, as the pioneering feature filmRaja Harishchandra was produced under its banner. Other notable films produced by the company includeSatyavan Savitri (1914) andLanka Dahan (1917). After the success ofLanka Dahan, several prominent figures, includingBal Gangadhar Tilak,Ratanji Tata, and actressFatma Begum, approached Phalke with offers to convert the company into a limited company, but he declined.[70] However, Phalke eventually accepted a partnership with Waman Apte, Laxman Phatak, Mayashankar Bhatt, Madhavji Jesingh, and Gokuldas Damodar, leading to the company's conversion into "Hindustan Cinema Films Company." The first film produced under this new venture wasShri Krishna Janma.
In 1917,Baburao Mistry, popularly known as Baburao Painter, founded theMaharashtra Film Company with the support of the Maharaja of Kolhapur. His first significant historical film,Sairandhri (1920), was well-received. Although the studio initially focused on silent films, it closed its doors in 1930 following the advent of sound. Members such asVishnupant Damle, Sheikh Fattelal, andV. Shantaram had left in 1929 to establishPrabhat Film Company.[71] By 1932, eight Marathi films had been released, three of which were by Prabhat Film Company, which went on to dominate the industry with 18 films in the following decade—more than any other studio in the pre-independence era. Prabhat’s first major hit was Shantaram'sAmrit Manthan (1934).[72] In 1933, Prabhat Film Company undertook the ambitious project of makingSairandhri the first color film in Indian cinema, processing it atUFA Studios inGermany, but the results were unsatisfactory. After Prabhat shifted its operations to Pune,Shahu Maharaj of Kolhapur helped found Kolhapur Cinestone in collaboration with the Pendharkar brothers andMaster Vinayak. Shahu Maharaj aimed to establish Kolhapur as the "Hollywood of Marathi Cinema." However, the studio produced only three films and closed after the failure of Phalke'sGangavataran (1937).
In the early 1940s, Shantaram founded his own production house,Rajkamal Kalamandir, which later produced notable films such asLokshahir Ram Joshi (1947) andPinjra (1972), both the films based on Tamasha genre.[73] During this period, many producers ventured into filmmaking under their own banners, with notable examples includingAnant Mane’s Chetana Pictures andDada Kondke’s Sadicha Chitra, the latter featuring Kondke himself in leading roles. However, despite the number of films being produced during this era, few production houses managed to establish a lasting name in the industry. In the mid-1980s, Mahesh Kothare founded his production house, Jenma Films, under which he produced and directed more than ten successful films, later founding its spin-off, Kothare Vision, in 2008.[74] Around the same time, Shantaram’s son also ventured into production, establishing V. Shantaram Productions, further extending the family’s legacy in Marathi cinema. Under this banner, he delivered superhit films likeBalache Baap Brahmachari andAshi Hi Banwa Banwi, which became classics in Marathi film history.[75] This era also marked the rise of two influential female producers,Uma Bhende andSmita Talwalkar, who made their mark with their production houses, Shri Prasad Chitra and Asmita Chitra, respectively, contributing significantly to the industry's growth.
| Year | Title | Director | Notes | Ref. |
|---|---|---|---|---|
| 1913 | Raja Harishchandra | Dadasaheb Phalke | First Indian feature film. | [57] |
| 1932 | Ayodhyecha Raja | V. Shantaram | First talkie in Marathi directed byV. Shantaram. | [76] |
| 1932 | Shyam Sundar | Bhalji Pendharkar | First Indian film to have theatrical run of more than twenty-five weeks in Bombay. | [77] |
| 1936 | Sant Tukaram | Vishnupant Govind Damle | First Indian film to receive international recognition. | [78] |
| 1937 | Kunku | V. Shantaram | Firstsuperhit at the Marathi box office. | [79] |
| 1954 | Shyamchi Aai | Pralhad Keshav Atre | First Indian film to win aNational Film Award for Best Feature Film. | [80] |
| 1959 | Sangtye Aika | Anant Mane | Firstgolden jubilee at the Marathi box office | [23] |
| 1962 | Prapanch | Madhukar Pathak | First film to winMaharashtra State Film Award for Best Film. | [23] |
| 1964 | Pathlaag | Raja Paranjape | Firstcrime thriller film in Marathi. | |
| 1965 | Sadhi Mansa | Bhalji Pendharkar | Firstneo realistic film in Marathi. | [81] |
| 1972 | Pinjara | V. Shantaram | Firstcolour film in Marathi usingEastmancolor. | [82] |
| 1976 | Ha Khel Sawalyancha | Vasant Joglekar | Firsthorror film in Marathi. | [83] |
| 1977 | Bala Gau Kashi Angai | Kamlakar Torne | First film to be shotoutdoors. | |
| 1982 | Umbartha | Jabbar Patel | First Marathi film to showLGBTQ community. | [84] |
| 1988 | Ashi Hi Banwa Banwi | Sachin | First Marathi film to gross over ₹3 crore at the box office. | [85][86] |
| 1989 | Thartharat | Mahesh Kothare | Firstaction Marathi film. | [87] |
| 1990 | Dhadakebaaz | Firstcinemascope Marathi film. | [67] | |
| 1991 | Maherchi Sadi | Vijay Kondke | First Marathi film to grossed ₹12 crore at the box office. | [88] |
| 1993 | Zapatlela | Mahesh Kothare | Firstpuppetry Marathi film. | [89] |
| 2000 | Chimani Pakhar | Firstdolby digital Marathi film. | [90] | |
| 2004 | Shwaas | Sandeep Sawant | First Marathi film submitted asIndia's official entry to the Oscars for consideration in theBest Foreign Language Film category. | [91] |
| Pachhadlela | Mahesh Kothare | First Marathi film to usecomputer generated effects. | ||
| 2007 | Zabardast | Firstscience fiction Marathi film. | ||
| 2012 | Kaksparsh | Mahesh Manjrekar | First Marathi film to get ahome video release inblu-ray format. | |
| 2013 | Zapatlela 2 | Mahesh Kothare | First3D Marathi film. | [92] |
| 2015 | Baji | Nikhil Mahajan | Firstsuperhero film of Marathi. | |
| 2016 | Natsamrat | Mahesh Manjrekar | First Marathi film to grossed ₹50 crores at the box office. | [38] |
| Sairat | Nagraj Manjule | First Marathi film to grossed ₹100 crores at the box office. | [93] | |
| 2022 | Har Har Mahadev | Abhijeet Deshpande | First Marathipan-Indian film. | [94] |
| Pondicherry | Sachin Kundalkar | First feature film shot entirely on amobile phone camera. | [95] |
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