Filmmaker Anurag Kashyap accused Indian cinema halls of harming smaller films by providing insufficient screens and poor show timings [1].
The dispute highlights a systemic tension in the Indian film industry between high-budget "event" cinema and independent, word-of-mouth projects. If theatres prioritize blockbusters, smaller films may fail regardless of their quality or audience demand.
Kashyap specifically pointed to his film "Bandar" and Imtiaz Ali’s "Main Vaapas Aaunga" as projects that suffered from this disparity [1]. He said that theatres favor big-budget Indian movies such as "Dhurandhar" and Hollywood releases like "Obsession" [1].
According to Kashyap, the current distribution model creates a precarious environment for filmmakers who do not produce massive spectacles. He said that for every "Dhurandhar," five expensive films will bomb [2].
The filmmaker argued that the lack of screen availability and unfavorable timing effectively kills the potential of smaller films [1]. By restricting the visibility of these projects, theatres limit the ability of a movie to build the organic momentum necessary for financial success [1].
This criticism comes amid a broader debate regarding how cinema chains manage their programming. The prioritization of big-budget titles ensures immediate revenue for theatres, but it often displaces regional or experimental cinema that requires more time to find an audience [1].
“For every Dhurandhar, five expensive films will bomb”
This conflict underscores the power imbalance between film distributors and cinema owners in India. When theatres prioritize guaranteed hits over diverse content, it creates a financial risk for mid-budget filmmakers and reduces the variety of cinema available to the public, potentially stifling independent storytelling in favor of corporate blockbusters.
