Much before travel became content and destinations were judged by Instagram aesthetics, Bollywood had already mastered the art of wanderlust. Hindi cinema has long used foreign locations not just as scenic backdrops but as emotional extensions of its stories. These landscapes carried longing, freedom, heartbreak and self-discovery. In doing so, Bollywood quietly shaped how generations of Indians imagined the world beyond home.
The tradition goes back several decades, when foreign shoots were rare and aspirational. Seeing Indian characters sing, fall in love or confront life in distant lands felt magical. Over time, as budgets grew and audiences evolved, these locations became more intentional, more layered and often deeply symbolic.
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Switzerland: Birth of Bollywood romance abroad
It is impossible to talk about Bollywood and global locations without acknowledging Switzerland and the filmmaker who made it iconic, Yash Chopra. Through films like Chandni and Dilwale Dulhania Le Jayenge, Switzerland transformed into a cinematic shorthand for romance. Snow covered peaks, green meadows and quiet European villages came to represent love in its purest, most poetic form.
For Indian audiences of the 1990s, Switzerland was not merely a country. It was a dream. Couples did not just travel there, they aspired to recreate what they had seen on screen. Even today, decades later, the association remains so strong that Switzerland continues to market itself as the land of Bollywood romance.
The global Indian identity
If Switzerland symbolised fantasy, New York represented reality for the Indian diaspora. Kal Ho Naa Ho used the city not just for its skyline, but for its emotional weight. Shot across Manhattan, Central Park and Brooklyn Bridge, the film captured the pulse of immigrant life. Fast, overwhelming, lonely and full of possibility.
London in SRK’s Kabhi Khushi Kabhi Gham became a space of emotional exile and aspiration, where Indian traditions survived in foreign homes, and family bonds stretched across continents without breaking.
Spain and Corsica: Travel as Transformation
By the time Zindagi Na Milegi Dobara arrived, Bollywood’s relationship with travel had matured. Spain was not presented as a tourist checklist, but as a journey inward. Road trips, festivals and open landscapes became metaphors for emotional release and personal reckoning. The film sparked a surge of interest in Spain among Indian travellers, many seeking the same sense of liberation they saw on screen.
A few years later, Tamasha chose Corsica, an island far less familiar to Indian audiences. Its quiet streets and rugged coastline became the space where its characters could momentarily escape societal roles. Corsica was not glossy or grand. It was introspective. After Tamasha, the island gained recognition among Indian travellers.
Australia and New Zealand: A favourite that feels familiar
Australia holds a special place in Bollywood’s global journey. Cities like Sydney and Melbourne have featured repeatedly, often representing independence, reinvention and modern relationships.
Films such as Salaam Namaste explored contemporary love in Melbourne, while Dil Chahta Hai used Sydney’s beaches and harbour to capture friendship and youthful freedom. Australia’s multicultural fabric, striking coastlines and urban energy allow it to feel both foreign and familiar.
Back in early 2000s Kaho Naa… Pyaar Hai introduced New Zealand to Indian audiences as a land of sweeping landscapes and cinematic romance, where snow-clad mountains and open skies amplified first love, escape and destiny.
Action goes global: Iceland, Portugal and Cuba
As Hindi cinema embraced scale and spectacle, international locations became central to action narratives. Dilwale turned Iceland’s frozen landscapes into a dramatic visual canvas, using its stark beauty for stylised song sequences. The country’s raw terrain added novelty and scale, making it instantly memorable for audiences.
War brought a different flavour by shooting in Porto, Portugal. The city’s historic architecture and narrow streets elevated chase scenes, lending the film a sleek European edge.
Then there was Ek Tha Tiger, which took Bollywood to Havana, Cuba. The city’s faded grandeur, vintage cars and lived in streets offered authenticity and grit. Havana felt real, political and textured, marking a shift away from polished postcard visuals.
Going off the map
Some of Bollywood’s most fascinating international choices came when filmmakers stepped outside expected destinations. Sushant Singh Rajput starrer Drive featured song sequence shot in Israel, including Tel Aviv and Jaffa. While the film itself divided opinion, its locations stood out for their rarity in Hindi cinema.
Earlier, Hrithik Roshan and Abhishek Bachchan’s Dhoom 2 had already surprised audiences by shooting in Rio de Janeiro. Long before Brazil became a familiar cultural reference in India, the film showcased its beaches and cable cars as the playground for a stylish heist.
Perhaps the most unexpected was Salman Khan’s Lucky: No Time for Love, shot in St. Petersburg, Russia, utilising its stunning historic architecture and snowy landscapes.
Where next?
Today, foreign locations in Bollywood are becoming more deliberate. Audiences are well travelled and visually savvy. A destination alone is no longer enough. It must serve the story. As cinema moves towards more grounded narratives, international shoots are being chosen for emotional relevance rather than novelty. Bollywood has turned the world into its stage. And wherever Hindi cinema travels next, it will continue to carry its audiences with it.
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