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India Today
2 days ago
- Entertainment
- 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
India Today
13-06-2025
- Entertainment
- India Today
A dwindling audience
Tmidst 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].'
Business Standard
20-05-2025
- Entertainment
- Business Standard
WAVES Comics Creator Championship Concludes with a Grand Finale: Heralding the Resurgence of Indian Comics
VMPL Mumbai (Maharashtra) [India], May 20: After an exhilarating nine-month journey of imagination, storytelling, and artistic excellence, the WAVES Comics Creator Championship has officially concluded, marking a triumphant return of India's comic book culture to the national spotlight. Launched in August 2024 as a flagship initiative of the Ministry of Information and Broadcasting (MIB) in partnership with the Indian Comics Association (ICA), the Championship formed a vital part of the WAVES Summit 2025 (World Audio Visual & Entertainment Summit). It stands as the largest and most ambitious platform for comic creators in India in over seven decades. From over a thousand submissions across the country, 76 semi-finalists were selected to receive a special gift box on India's 76th Republic Day--a tribute to the creators who brought fresh narratives and unique perspectives to life. The journey culminated with the top 10 finalists showcasing their creations at the WAVES Summit in Mumbai (May 1-4, 2025). The event's pinnacle came as film legend Mithun Chakraborty graced the stage to award the Championship winners--honoring their exceptional talent, dedication, and vision. This momentous occasion further amplified the cultural significance of comics in contemporary India. The championship winners were: Professional Category The Guard - Bijoy Raveendran & Tadam Gyadu (Delhi) Worth Dying For!! - Puneet Shukla (Gorakhpur) & Piyush Kumar (Ranchi) The Last Devotee - Aparna Chaurasia (Chhatarpur) Amateur Category Ghosts of the Jungle - Rohit Shukla (Chennai) & Shivangi Shaily (Indore) Ashes of Divinity - Randeep Singh (Kendrapara) Kalkin: Pillar of the North - Suvojit Pal (Howrah) & Vivek Pradhan (Raipur) In a proud and emotional moment at Creatosphere, WAVES 2025, Hon'ble Prime Minister Shri Narendra Modi met with the finalists of the Comics Creator Championship and motivated the young creators to carry forward India's storytelling legacy with courage and creativity. A Stage for Ideas and Innovation The summit was not just about competition. It was a celebration of ideas and evolution in storytelling. One of the key highlights was the panel discussion, "From Print to Pixels: The New Era of Comic Storytelling, Distribution & Design," Featuring Industry leaders Ajitesh Sharma, Preeti Vyas, Sanjay Gupta, Nikhil Pran, Faisal Mohammad and Hamza Sayed, where industry veterans and new-age creators explored the future of Indian comics in the digital star-studded panel also launched a special comics on Indian Comics History by Cinemics - The Great Indian Comics Waves. Another landmark moment was the grand launch of "Super 10," unveiled by Shri Ashwini Vaishnaw, Honorable Minister of Information & Broadcasting, signifying the government's active role in fueling the future of India's comic industry. A Master class with a Mastermind One of the most inspiring moments at WAVES 2025 was the exclusive masterclass by Shri Anupam Sinha, the iconic creator of Super Commando Dhruva. Titled "Master the Art of Comics & Storytelling," the session offered participants deep insights into the creative process from one of India's most respected comic visionaries. A heartfelt thank you to Anupam Sir for sharing his time, wisdom, and passion. The session was truly unforgettable and left a lasting impact on every attendee - mentioned Anadi Abhilash, Secretary, Indian Comics Association. The Comics History Section at the Bharat Pavilion, a special curation tracing the evolution of Indian comics from the classics to contemporary innovations, was visited by none other than the Hon'ble Prime Minister Shri Narendra Modi. He witnessed a century of Indian Comics, briefly met with ICA President Ajitesh Sharma, and added a monumental significance to the exhibit. A Resurgence Begins Other key ICA members -- Vasu Gupta (Marketing Head), Mithilesh Gupta (Content Head), and Mohammad Shahbaz (Event Head) -- were present on all days of the summit and contributed to the event's success. With Rs8 lakhs in prizes, national recognition, mentoring from industry greats, and a platform that bridges legacy and innovation, the WAVES Comics Creator Championship has set the stage for a powerful comeback of the Indian comics industry. As Ajitesh Sharma, President of ICA, stated: "This marks the beginning of a new golden age--an era defined by creativity, collaboration, and global visibility for Indian comics." The conclusion of this groundbreaking competition signals more than just the end of a contest--it marks the comeback of the Indian comics industry, poised to evolve, expand, and inspire a new generation of readers and creators alike.
Business Standard
06-05-2025
- Entertainment
- Business Standard
Diamond Toons Unveils Comic 2.0 - The New Age Comic, Little Chanakya and Delhi Darshan at WAVES 2025 in association with Delhi Tourism
VMPL New Delhi [India], May 6: Diamond Toons proudly launches Little Chanakya and Delhi Darshan, a travel adventure Comic specially conceptualized for WAVES 2025 (World Audio Visual & Entertainment Summit) in association with Delhi Tourism. This comic aims to inspire children to connect with India's capital city and was launched by Delhi Tourism Minister Shri Kapil Mishra at WAVES Summit 2025, Mumbai. It will be followed by a new age, Talking Comic 2.0, with voice-over, motion, music, and visual effects, which will be released soon. Through a gamified comic treasure hunt, riddles, and clues, Little Chanakya, a 9-year-old sharp-witted, fearless strategist, and his curious friends lead readers to Delhi's historical landmarks, one after another--from the timeless Qutub Minar and Red Fort to contemporary marvels like Bharat Mandapam, Yashobhoomi, Asita Park, Baansera Park, and the new Parliament House. Diamond Toons' pioneering concept of Talking Comics -- a breakthrough format that fuses voice-over, motion, visual effects, and music to create a multi-sensory storytelling experience. Talking Comics are engaging, relatable, and visually striking, designed not just for entertainment but to drive behavioral change and foster social impact. Perfect for awareness and education campaigns, this format speaks to inquisitive young minds, appeals to all age groups, and is multi-language and platform-friendly, making it accessible and impactful across diverse audiences. Diamond Toons has successfully utilized the new-age Talking Comic 2.0 in major national projects -- including Swachh Bharat Abhiyan, Chhattisgarh Tourism, Prime Minister's Yuva Yojana, Jal Jeewan Mission, Namami Gange, and Smart City initiatives -- demonstrating how compelling storytelling can raise awareness, encourage positive action, and strengthen community engagement. "With Little Chanakya and Delhi Darshan, we are not just telling a story -- we are redefining how stories are experienced," said Manish Verma, Director, Diamond Toons. "Specially conceptualized as Talking Comic 2.0 for WAVES 2025, this new age comic concept creates a whole new world -- where animation, voice, gamification, and immersive technology transform reading into a living, breathing adventure. We are proud to showcase how creativity in India can set new global benchmarks in storytelling and media innovation." Translated into Hindi and English, Little Chanakya and Delhi Darshan will be distributed across multiple platforms -- including print, digital, libraries, schools, merchandise, animation, gaming adaptations, and new immersive formats like AR/VR and metaverse experiences -- ensuring that Delhi's heritage reaches audiences everywhere. About Diamond Toons: Diamond Toons is the youngest and most dynamic division of the iconic Diamond Group of Publications, with a bold vision to revolutionize how India experiences comics. Rooted in tradition but driven by innovation, Diamond Toons create and publish fresh, contemporary content that entertains, educates, and inspires readers across generations. Diamond Toons is the publisher of legendary comic characters like Chacha Chaudhary, Sabu, Billoo, Pinki, Little Chanakya, Tinga Dojo, and Boxy, along with globally loved icons such as Mickey Mouse, Donald Duck, and Chhota Bheem. Diamond Toons brings timeless characters to life, blending fun, learning, and laughter across generations.
India.com
06-05-2025
- Business
- India.com
Mukesh Ambani's another BIG investment of Rs 840000000000 in…,in next 3 years JioStar will…
Mukesh Ambani, India's richest man, alone is enough for Pakistan, his wealth is twice of Pakistan's annual budget, his net worth is.... Mukesh Ambani led JioStar has announced plans to invest over Rs 84,000 crore ($10 billion) in content creation over the next three years. This decision was announced by Vice Chairman Uday Shankar during his address at the World Audio Visual & Entertainment Summit (WAVES) 2025. JioStar, a joint venture between Reliance Industries' Viacom18 and the Walt Disney India unit. The unit is focusing on its content for its growth. Shankar stated that the platform is delivering premium and diverse content to its audience. Speaking at a session at the first World Audio Visual & Entertainment Summit (WAVES) here, he also said the industry needs to focus on 2-3 big drivers, including creating more content, which is tailored and customised to the Indian needs. 'In FY2024, the two companies spent Rs 25,000 crore on content alone. In FY2025, it went to Rs 30,000 crore and the number for the FY26 will be over Rs 32,000-33,000 crores,' Shankar said. 'So, in three years alone, we have spent more than USD 10 billion,' he said. He said the domestic screen entertainment or video entertainment industry is currently pegged at USD 30 billion while in the US its size is around USD 200 billion and in China USD 75 billion. Stating that the value, the space or rate at which the growth has taken place over the last 30 years, in the next 15 years also it will continue to grow but there are two or three big drivers that are needed to focus on. Besides creating more content which is customised, tailored for Indian needs, he said we have to take distribution even deeper. (With inputs from PTI)
