I'm Gen Z, and I went to watch Saiyaara to figure out why young Indians are crying on camera

Indian Express

a day ago

My fifth trip to the theatre this month – thanks to a generational movie run this summer – was a solo date. A conscious choice to watch Saiyaara alone and soak in the Mohit Suri magic, mascara-free, without friends teasing me for shedding fat tears the moment the hero kneels before a zoomed-in shot of his girl's kohl-rimmed eyes.
Young and old, friends and couples, had queued up to watch newcomers Aneet Padda and Ahaan Pandey prove their mettle to critics and audiences alike, holding their own against Metro…In Dino's seasoned ensemble.
Hushed whispers about the film's aggressive PR and meme marketing had already made their way into my Instagram algorithm. But by the time the end credits rolled, I was bombarded by clips of people sobbing on theatre floors, arriving with IV drips strapped to their arms, and snappy edits comparing Saiyaara's leads to Suri's previous heartbreak icons from Aashiqui 2. After its smashing opening weekend, Saiyaara was everywhere.
What Saiyaara pulled off wasn't accidental virality; it was a moment of cultural ignition. And what's remarkable is that this wave wasn't powered by stars or conventional advertising, but by digital emotion and peer validation. The crying reels weren't 'content pieces' in the usual sense; they became the campaign.
According to Himanshu Singla, co-founder, Idiotic Media, what worked in this case was the authenticity of emotion paired with the absence of noise. 'There were no back-to-back interviews, influencer blitzes or media overkill. Just one powerful trailer, a deeply affecting soundtrack, and then the internet took over,' he said.
From a meme marketing perspective, Singla saw an organic yet incredibly effective shift. Memes like 'China's building AI, India's crying over Saiyaara' went viral not because they captured a cultural moment, but because they reframed emotion into commentary. 'That's the beauty of memes: they translate complex sentiment into something instantly shareable,' he told indianexpress.com.
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For people walking into theatres with no context, the emotional frenzy was disarming. Hushed sobs, long hugs in silence, stunned expressions – the emotional intensity created rare, unprompted curiosity.
'Why are people reacting like this? What's going on in this film?' Even those who didn't walk away emotionally shattered wanted to see what the fuss was about. 'That's a very modern form of digital pull rooted not in persuasion, but participation,' said Singla.
Pranav Bhardwaj, an advocate, believes audiences were missing this kind of cinema. 'An over-the-top, fantastical, intense, slightly cringey love story. Mohit Suri knows exactly what his audience wants. Saiyaara sticks to the classic bad boy–good girl formula, and pairs it with a solid album. It's a decent film, and we hadn't had that in a while,' he said.
Crying during movies is natural – from Kal Ho Naa Ho to Rockstar, we've all walked out of theatres with red eyes. But Bhardwaj believes crying on camera is now part of a digital performance: 'It's become fashionable; a way to get followers, engagement, or even hate comments.'
You cried a little in the dark cocoon of the theatre, so what? But recording yourself thrashing on the floor, on the verge of passing out, hyperventilating, and uploading it — has Gen Z taken it too far?
While some say it's performative, others see something deeper. Pavitra Singh believes this trend points to a larger loneliness epidemic. 'This digital closeness makes them feel seen and heard. Many don't have anyone to vent to in real life, so they turn to their digital audience for solidarity,' she said.
For Shubhangi Priyadarshini, a graphic designer, the rise of emotional honesty online is also about reclaiming vulnerability. 'It's either a performance or a cry for help,' she said. 'And when a film like Saiyaara gives us a socially acceptable reason to release those emotions, it feels safer. It's easier to cry for a fictional story than to confront your pain.'
From a millennial's perspective, Mini believes the younger lot today is far more emotionally expressive. 'They don't hold back. Whether in films or real life, they're upfront, vocal, and less concerned about perception,' she said, crediting this shift to growing up in a culture that encourages conversations around mental health.
'When someone shares those raw moments online, it resonates. People are slowly realising that it's okay to not feel okay, and that they're not alone,' said the communications specialist.
Everything you see online is not real. Much like Shilpa Pal, who watched the film on its second day, I, too, was surprised to find a relatively composed theatre. No one is convulsing on the floor. No IV drips. No dramatic breakdowns. I won't lie, I was a little bummed.
'What you see on social media is exaggerated,' said Pal, PR consultant at Pitchfork Partners. 'No one was howling or sitting on the floor. That just didn't happen.'
According to her, the reason why youngsters are expressing themselves so dramatically online is simply because 'that's what people do these days'. They share emotions publicly on social media. But is this the first time we're seeing something like this? No. During Aashiqui 2, people had similar reactions. More recently, when Sanam Teri Kasam re-released, such dramatic reactions did go viral.
'This movie could mean to them what Kaho Naa Pyaar Hai or DDLJ meant to millennials. While the intensity of their reactions may feel excessive, having a film they'll cherish and reference for years to come is completely valid,' Pal said, adding, 'And honestly, aren't we all a little tired of watching actors in their 50s romancing women in their 20s and 30s? Who doesn't enjoy a fresh change?'
As a generation raised being told not to cry or show too much emotion, it's no wonder we're spilling it all now — sometimes in the wrong places. Whether you joined the hate bandwagon or tore through a box of tissues while rooting for the leads, Saiyaara made you feel something — pain, joy, love, or cringe.
That's for you to decide. As for me, I'll just go back to my playlist and hum along to Faheem Abdullah's soulful voice.
Ishika Roy is a is a Sub Editor for the lifestyle desk at The Indian Express. She shares a keen interest in reading, writing and researching on all things beauty, entertainment, pop culture and lifestyle. Ishika holds a Bachelor's degree in Sociology from Miranda House, Delhi and a Post-graduate degree in Journalism from Symbiosis Institute of Media and Communication, Pune. ... Read More