Levantine Movies is making a bold move by launching the queer romantic comedy “A Good Indian Boy” theatrically, a decision that reflects a strong belief in a genre often pushed to the confines of streaming platforms. This theatrical release is not just a marketing strategy; it signifies a commitment to telling diverse stories that resonate across different cultural backgrounds.

Starring the talented Karan Soni from “Deadpool”, the film features a narrative centered on an Indian man who introduces his white artist boyfriend, played by Jonathan Groff, a Tony and Grammy award winner, to his traditional family. When Benjamin Hung, CEO of Levantine Movies, first encountered Madhuri Shekar’s original play, he recognized that the core of the story transcended the theme of coming out. Instead, it delves into the complexities of cross-cultural relationships.

“Our goal is to seek out projects that uplift audiences and instill a sense of hope,” Hung shared with Variety regarding the compelling nature of this film. It’s crucial to create narratives that inspire and connect with viewers on a deeper level, especially in today’s world.

Levantine, a New York-based independent production and financing company known for acclaimed films like “Hidden Figures” and “Beasts of No Nation,” as well as crowd-pleasers such as “Blinded by the Light” and “Jerry and Marge Go Large,” has partnered with Justin Baldoni’s Wayfarer Studios for co-financing on this project. “We were determined to move forward with production, with or without their involvement,” Hung asserts, highlighting Levantine’s dedication to the project.

“A Good Indian Boy” made its limited theatrical debut nationwide on Friday. Despite being released during a competitive spring weekend, with major studios like Warner Bros. promoting large franchises such as “A Minecraft Movie,” and art-house hits like Neon’s “Hell of a Summer” aiming to attract audiences, Hung remains optimistic that positive word-of-mouth will enable the film to connect with its intended audience.

Before the film’s launch, Hung articulated the rationale behind opting for a theatrical release, detailing the collaborative efforts with Wayfarer Studios and their shared objective of increasing yearly film production. This strategic partnership underscores the potential for innovative storytelling in cinema.

Discovering the Play: How It Sparked the Movie Adaptation

Charlie McSpadden first encountered the play around 2020. “We are passionately dedicated to telling compelling stories that resonate with audiences,” he states, emphasizing the importance of socially conscious narratives that reflect underrepresented communities. This project checked all the boxes for Levantine’s mission.

Collaborating closely with writer Madhuri Shekar, the development process spanned two to three years. Midway through pre-production, Wayfarer Studios stepped in to finance a significant portion of the film, thereby reducing some financial risk. However, Hung emphasizes that Levantine was committed to proceeding with production regardless of external support.

Future Collaborations: Will Levantine Partner with Wayfarer Studios Again?

Currently, the relationship with Wayfarer Studios is incredibly positive. Under optimal conditions, Hung expresses a desire to collaborate with them again in future projects.

Aligning ‘A Good Indian Boy’ with Levantine’s Vision for Future Projects

As Levantine looks to the future, Hung envisions not only scaling its productions but also expanding the genres it traditionally explores. The company’s ethos revolves around delivering premium-quality stories with engaging characters. “In our upcoming slate, we’re exploring a range of genres, including an action-adventure film, a sci-fi thriller series soon to hit the market, and a vampire comic book series that combines elements of “The White Lotus” and “Emily in Paris.” Next in line is “Poetic License,” Maude Apatow’s directorial debut featuring Leslie Mann, Cooper Hoffman, and Andrew Barth Feldman.

While the romantic comedy genre may be uncharted territory for Levantine, it still aligns with their goal of creating compelling characters. Audiences can expect to see more of such innovative storytelling from the company. Historically, they have produced approximately one film per year, but Hung aspires to ramp up to three or four productions annually.

Investing in Queer-Led Narratives: Future Aspirations for Levantine

Diversity is at the forefront of Levantine’s film slate. The company aims to create content appealing to a broad audience. This includes productions that cater to the mainstream market, as well as those featuring queer narratives. While there’s no strict quota to meet each year, the approach remains organic, as authentic storytelling is typically what resonates best with audiences.

The Role of Streaming Platforms in the Theatrical Landscape for Rom-Coms

The current landscape reveals a trend where studios are hesitant to release many romantic comedies in theaters. Following the success of South by Southwest, multiple partners approached Levantine for distribution. While some offered to release the film, they also planned to debut numerous other films without a solid commitment to theaters.

In this instance, Levantine decided to pursue self-distribution in partnership with Blue Harbor Entertainment, asserting, “We’re betting on ourselves.” This approach allows them to infuse a personal touch into marketing efforts, reaching out to industry contacts to rally support for the film.

Experiencing a film in a theater with a large crowd creates a unique atmosphere. The collective laughter and emotions shared among hundreds of viewers elevate the experience, making it memorable and impactful.

Target Audience Insights: Navigating Marketing Challenges for ‘A Good Indian Boy’

The marketing strategy has focused on engaging South Asian audiences and younger demographics. The hope is that word-of-mouth will draw in more conservative older generations. Importantly, the LGBTQ+ community remains a vital audience, along with theatergoers who are fans of Groff’s Broadway work.

Emerging talent Zarna Garg has captured attention with her upcoming pilot on CBS. With her extensive experience in stand-up comedy, she has particularly resonated with older Caucasian women, which has been a delightful surprise during their festival circuit, especially at the Palm Springs International Film Festival.

Despite the challenges of marketing a queer romantic comedy, Levantine believes A Good Indian Boy has the potential to appeal to a wide audience. Drawing comparisons to mainstream hits like “Meet the Parents,” the film presents a relatable and enjoyable narrative. The key to their marketing strategy has been identifying the right theaters to reach their primary audience effectively.

Maintaining Momentum Post-SXSW: Strategic Approaches for ‘A Good Indian Boy’

Following its premiere at SXSW, the team began to evaluate their strategy for the film. It took several months to finalize plans, as they collaborated with various partners to build collective enthusiasm for the project.

An effective festival strategy was implemented, targeting events like NewFest and the London Film Festival. It’s essential to maintain a balanced approach on the festival circuit to avoid overexposure. The team received positive reviews and considerable exposure, thanks to the hard work of director Roshan Sethi and the cast, who actively promoted the film.

Uplifting Queer Narratives: The Future of Storytelling in a Challenging Climate

The play’s appeal lies in its focus on relationships rather than solely on coming out. It emphasizes the importance of meeting new people and navigating family dynamics across different cultures. Levantine is dedicated to finding projects that are uplifting and offer hope, with 89% of their focus on positive themes. However, they remain open to exploring other narratives that resonate with audiences.

Balancing Commercial Success and Artistic Integrity: The Future of Levantine Films

“Hidden Figures” was a perfect storm, fulfilling all expectations for both the box office and critical acclaim. Moving forward, Levantine aims to cultivate a balanced portfolio that includes both commercially viable projects and artistic endeavors. This strategy ensures profitability while allowing the company to pursue unique films that may not yield immediate financial returns.

If Levantine can replicate the success of “Hidden Figures,” it will be a tremendous achievement. However, they are equally committed to creating films that truly resonate with them, even if they do not achieve commercial success.

This interview has been edited and condensed for clarity.