Making a big splash
When Kushagra Tiwari, 21, a filmmaking graduate based in Ghaziabad, boarded a plane for the first time to attend the World Audio Visual Entertainment Summit (WAVES) from May 1-4 in Mumbai, he had little idea that he was going to come back with memories of one of the most defining experiences in his life. Receiving the Create in India Challenge (CIC) award in the Travel India category of reel-making, Tiwari, a content creator and aspiring actor, was euphoric and told Aamir Khan, from whom he received the award, that five years down the line, they would work together in a film. 'I manifested it for myself,' says an elated Tiwari. Aamir was impressed enough with the young man's confidence to ask him his name and say that he'd remember his prophecy. 'What I most like about the CIC awards was there was no criteria for how many followers you have on social media; it's all about the content,' says Tiwari. 'I have just 4,500 followers, but my confidence has soared.' What the award has also done is convince his parents, who were clueless about his work and concerned about his future, that their son is alright. 'Now they don't ask questions,' says Tiwari.
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India Today
2 days ago
- India Today
India's cinema halls struggle with dwindling footfalls
(NOTE: This article was originally published in the India Today issue dated June 23, 2025)Amidst the glitz and spectacle of the World Audio Visual & Entertainment Summit (WAVES), one topic weighed on the minds of most film industry stakeholders—the current crisis in the theatre business. 'I have always believed that India has too few theatres, given the size of the country and [number of] people,' actor Aamir Khan said at a session. 'Our biggest theatre hits have had footfalls of 30-35 million. That's 2 per cent of our population in what is a cinema-loving country.' Seated next to him was Ajay Bijli, founder of PVR Cinemas and managing director of country's biggest multiplex chain, PVR INOX Ltd. Bijli replied in jest, 'Main office jaata hoon [I better head to office to get work done].'advertisementThe world's most populous country has just about 9,000 screens, a number that has been steadily declining, largely due to the closure of single-screen cinemas. The figure implies that there are roughly 7-8 screens per million people. More than half of these screens are concentrated in southern territories, predominantly in Andhra Pradesh, Tamil Nadu and Telangana, followed by Karnataka and Kerala. Even as new box office benchmarks have been set post-pandemic with releases like Pathaan, Jawan, Animal, Stree 2 and Pushpa–Chapter 2–The Rule, the hard reality is that footfalls have still not matched up to 2019 levels. As Aamir called for more screens in 'vast tracts where there are no cinemas', Bijli reminded us that existing screens were struggling to put bums on the existing 4 million seats. 'Consistency of content that engages is important, as the consumer is critical,' Bijli said. 'We need to start cinemas pockets where they are not available.'advertisement The latest EY report on India's media and entertainment sector states the need for low-priced theatres in Tier III and IV markets alongside growth in 'mass-themed films'. Five months into 2025, there has been only one that fits the bill—Chhaava, a period action drama on Maratha ruler Chhatrapati Sambhaji Maharaj, which collected Rs 530 crore, a significant chunk of it coming from Maharashtra. Bollywood's sluggish start to the year cannot be attributed to just fewer big releases in the first half. Mid-budget films have also struggled to make an impact, with just a few exceptions such as Kesari-Chapter 2, Raid 2 and Jatt. At Cinepolis India, which has 186 of its 430 screens in Tier II and III centres, the situation is improving, but with a caveat. 'While overall attendance figures have recovered to near pre-Covid levels—85 per cent of 2019 level in 2024—this is primarily due to the increase in screen count rather than per-screen productivity, which is down 25-30 per cent,' says Devang Sampat, the managing director of the multiplex group. 'This disparity highlights the underlying challenges the exhibition sector faces. Ultimately, it boils down to the content the industry is churning out.' The chain's expansion strategy has seen it open cinemas in Kozhikode, Bhopal, Jaipur, Rajkot and Kannur, with plans to set up shop in Jhansi, Pondicherry and Jodhpur in a few DIVIDE Talk to any exhibitor and the conversation ultimately boils down to the lack of a steady stream of compelling films that can lure the audiences back into cinema halls. 'Nobody makes movies for the masses anymore,' says Yusuf Shaikh, whose family operates five single screeners in Gujarat that are just about breaking even. 'We are not ready to understand who our audience is or [have] ignored who they are.' An 'ABCD film', one that connects in all geographic centres, is a rarity, he says. Instead, he praises filmmakers in the South for working out 'their target audience and sale and recovery model' as well as marketing, which has resulted in a few films becoming hits even in the Hindi belt. 'In the South, actors have their own fan clubs. Even the music and trailer launch are events for them,' he no overlooking the fact that the South is way above the rest of India when it comes to big screen viewing. As per of the 6,877 theatres in India, 54 per cent are in the five southern states. Add Maharashtra, and the figure rises to 70 per cent. Screen density in the South too is much higher than the national average. Ashish Pandey, currently head, programming and strategic initiatives, at MovieMax, has been in the film distribution business for over two decades and has some understanding on why the likes of Andhra, Telangana and Tamil Nadu dominate. 'In the South, there's a culture of going to the cinemas. It's not like you are going for the sake of entertainment alone. It's also not considered demeaning to go to the cinemas. So, there's no hesitation,' he says. 'A regular audience comes regardless of which film is released. There's penetration of cinemas even in smaller towns.'advertisement But all is not hunky-dory even in the hero-worshipping South. If there's a Tourist Family (Tamil) or Thudarum or Alappuzha Gymkhana (both Malayalam) which succeeds, there's also a Kamal Haasan-Mani Ratnam's Thug Life, which failed to live up to the hype. Sunil Narang of Asian Cinemas feels some course correction is needed, especially when it comes to aspects such as the theatre-to-streaming release window. In the South, it's just 28 days, compared to 56 days in the Hindi belt. Steep ticket prices as well as those for food and beverage, he feels, are also deterring audiences. 'How can we have more screens when existing screens are not running?' he laments. 'Where are the movies? Where are the numbers? How will the theatres run?' As many as 30-40 single-screen cinemas in the South have closed in the past six months, he says. THE BIG PICTUREadvertisementIf India wants to level up to the markets in China and the United States, what it needs are films that pique audience interest enough for them to make the trip. 'There isn't a regular supply of tentpole pictures or big films. They come once every three months; the rest of the time is when we face a downturn,' says Pandey, whose MovieMax is looking to expand from 80 to 100 screens by the end of the year. 'Once we have a stronger content pipeline, the expectation is that those footfalls will come back. Because people are coming to the cinemas even to watch re-releases and smaller, mid-budget fare like Munjya and 12th Fail.'But even these pleasant surprises are too few and far between. Bijli summarises the cinema theatre business post-pandemic as akin to 'feast and famine', wherein a film does exceedingly well only to be followed by a long dry spell where nothing clicks. Yet, he also realises that new cinemas need to come up in smaller centres as opposed to the big cities. Currently, 372 of PVR INOX's 1,743 screens are located in 66 Tier II and Tier III cities and come with a cumulative seating capacity of 80,947. In 2018, the multiplex giant launched the 'franchise owned, company operated' (FOCO) model to take its presence beyond the metros. Adopting an 'asset-light strategy', FOCO has franchise partners who own the property but with PVR INOX handling the design, operations and customer experience. Under this, 42 screens are operating across 12 locations, with 35 more planned in nine new locations, including Shillong, Gangtok and Shaikh is hoping to revolutionise the film exhibition market with Janta Cinemas, a business idea that emerged from a simple premise: 'Grahak khada hai, dukaan hi nahin hai [(The customer is there. But there's no shop in sight)'. He has tied up with the state governments of Assam and Tripura to convert vacant town halls and panchayat houses into 300-seater cinema spaces. While the morning and afternoon hours are devoted to edutainment, the evenings are reserved for films. Tickets are priced at Rs 99 and Shaikh throws in a chai and samosa too.'What this country needs is cinema halls for the masses. I am planning 10,000 screens in the next two years,' he boasts, adding that he is already communicating with the governments of Uttar Pradesh, Madhya Pradesh, Gujarat, Maharashtra and Delhi to launch more Janta properties. 'I am converting the pirate audience to the ticketed audience.' The ultimate endeavour, he hopes, is that there's a steady maintenance of average collections through modest outlets, which, in turn, helps build a loyal audience. It may not have swanky recliner seats or fancy food and beverage offerings, but what it can ensure is that the show goes on. A houseful one at to India Today Magazine
Time of India
2 days ago
- Time of India
Prasar Bharati adds Shucae Films content to WAVES OTT
In a strategic move to expand digital content and engage wider audiences, Prasar Bharati has partnered with Shucae Films OTT. This collaboration brings Shucae's dynamic slate of original web content to Prasar Bharati's digital platform WAVES, with select shows also airing on its national television network. The alliance underscores Prasar Bharati's ongoing push to modernise content delivery by merging its robust broadcast ecosystem with Shucae Films' creative edge in digital storytelling. Together, they aim to deliver compelling, inclusive and high-quality content for India's evolving media consumers. This partnership strengthens WAVES as a premier OTT Platform for homegrown digital content, building on its mission to blend entertainment with empowerment. Already known for shows like The Lions' Den, WAVES now hosts a fresh lineup of Shucae's popular titles including Jaane Kyun, Ek Ke Peeche Ek, Love Forever, It's a Match, Yeh Hai Meri Love Story!, Belt, Bolo Pencil, Pyaar Ke Panne and 3rd Stanza. Speaking on the collaboration, Gaurav Dwivedi, CEO, Prasar Bharati, said 'This partnership reflects our commitment to offer vibrant, diverse and engaging content to audiences in India and beyond. Our OTT Platform WAVES continues to evolve as a digital-first platform showcasing the best of Indian storytelling ." "We're excited to collaborate with Prasar Bharati and leverage WAVES OTT 's reach to bring our stories to a broader, more connected audience. It's an ideal platform to co-create content that truly resonates." added Manoj Doogra , CEO, Shucae Films. Prasar Bharati's OTT platform, officially launched on November 20, 2024, during the 55th International Film Festival of India (IFFI) in Goa.
India.com
4 days ago
- India.com
Sandeep Singh Launches ‘Fauji 2.0' Album With Manoj Bajpayee, Saluting Armed Forces And Martyrs
New Delhi: In a stirring tribute to sacrifice, and patriotism, Doordarshan, Waves, and producer Sandeep Singh commemorated the 100th episode of their acclaimed series Fauji 2 with the official launch of the Fauji 2.0 music album. The launch served not only as a celebration of the series' milestone but also as a heartfelt homage to the Indian Armed Forces and the martyrs of the recent Pahalgam terror attack. Veteran actor Manoj Bajpayee attended the event as Chief Guest, lending his gravitas to the evening. Reflecting on his two-decade-long friendship with producer Sandeep Singh, Bajpayee lauded the project's sincerity and its emphasis on new talent. 'Sandeep is a dear friend of mine for the last 20 years. I've always supported newcomers—some even jokingly call me a casting director because I keep recommending new talent. In an industry where relationships come and go, Sandeep has always stayed true. This project reflects that same sincerity,' he said. Actress Meera Chopra made her debut as an anchor at the event, guiding the proceedings with a tone of reverence befitting the tribute to India's unsung heroes. The ten-track Fauji 2.0 album brings together a powerful lineup of celebrated and emerging artists, including Sonu Nigam, Rekha Bhardwaj, Kunal Ganjawala, Javed Ali, Pratibha Singh Baghel, Ravi Tripathi, Shahzad Ali, Jazim Sharma, Abdul Shaikh, Zaid Darbar, and Pavneet Singh. Among the standout tracks is Bagheera, an emotionally charged anthem of resilience that marks the directorial debut of Zaid Darbar. 'I always thought I'd just be in front of the camera. But Sandeep sir saw something in me and gave me the chance to direct,' said Darbar. Leading the album both visually and vocally is singer-actor Pavneet Singh, who described the project as deeply personal. 'I come from an army family, and this project is deeply personal. I've been struggling in the Punjab music and acting scene for six years, waiting for a chance. With Bagheera, I just poured my heart into it. Thank you, Sandeep sir, for believing in me," he shared. The launch also celebrated Fauji 2's 100-episode journey on Doordarshan. Since its debut, the series has earned acclaim for its dramatized portrayals of real-life stories inspired by the Indian Army. 'Fauji 2 is my tribute to the Indian Army's courage and sacrifice. Inspired by their stories, I created this series and album on a grand scale. I've always believed in giving fresh talent a chance—like Abhay Verma, who started out in Safed, and now 15 newcomers from across India have been introduced in Fauji 2.0. With talents like Pavneet Singh, new singers, and debut directors like Zaid Darbar, this project blends honesty and energy. Fauji 2.0 is more than content—it's a commitment,' said Sandeep Singh. Actress Gauahar Khan, who stars in the visual interpretations of the album, described the music as a 'living tribute' to fallen heroes. Vicky Jain called the experience 'emotional and unforgettable,' while actress Ankita Lokhande said, "To be part of a project that celebrates real heroes, not just reel ones, is deeply humbling. Fauji 2 will always be special to me.' Blending emotion, artistry, and national pride, Fauji 2.0 emerges as more than an album or TV show. It is a cultural statement—a salute to those who serve, and a legacy built on remembrance. The Fauji 2.0 album is now available across all major music streaming platforms.
