[6] Such films aim to transcend linguistic, demographic, social, regional, ethnic and cultural barriers, seeking to resonate with a wide audience.

Films such as Dilwale Dulhania Le Jayenge and Enthiran, were dubbed in other Indian languages and were released along with their original versions.

[10][11] Since 2010s, dubbing and telecasting of South Indian films (primarily Telugu and Tamil) in Hindi became a regular practice by which films from Telugu cinema and Tamil cinema gained popularity in the Hindi speaking regions.

[25] Actors like Prabhas, Yash, Allu Arjun, Ram Charan, and N. T. Rama Rao Jr. enjoyed nationwide popularity among the audiences after the release of their respective Pan-Indian films.

[26] Film critics, journalists and analysts, such as Baradwaj Rangan and Vishal Menon, have labelled Prabhas as the "First legit Pan-Indian Superstar".

[28][29] Pan-Indian films also employ actors from different language industry to increase their visibility and bring a universal appeal.

[30][31] In an interview with Film Companion, filmmaker Karan Johar said: "Pan-India is a phenomenon we cannot diminish or dilute.

In an interview with Deadline Hollywood, actor N. T. Rama Rao Jr expressed his disapproval for the term: "I hate referring to it as 'pan-Indian', it sounds like a frying pan.

"[48] Kamal Haasan felt the concept of Pan-Indian cinema always existed, and criticised the term as a new "coinage".

[53] Writing for The Swaddle, Rohitha Naraharisetty feels pan-Indian films glorify toxic masculinity and the "angry young man" archetype, while suffering from underdeveloped and heavily objectified female characters.