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Business Standard
a day ago
- Business
- Business Standard
Lights, camera, crisis? Hindi films struggle despite 27% box office jump
Film producers and distributors say the 27 per cent jump in all-India box-office earnings during the first five months of 2025 hides a much grimmer reality. Despite total receipts climbing to ₹4,812 crore from ₹3,791 crore a year earlier, industry insiders describe an 'existential' crisis and an atmosphere of 'nervousness' across the sector, The Economic Times reported. 'Are we looking at numbers or real growth? Last year was an election year. So, it seems there is growth in collection. There is a huge difference between film business in multiplexes and the B-class and C-class centres,' said Yusuf Shaikh, CEO and founder of Janta Cinema, quoted by The Economic Times. Lack of mass entertainers Shaikh mentions the theatres' core audience — the masses — now struggle to find 'credible mass entertainers' on screen. A veteran distributor said that the ritual of weekly movie-going has faded. He said that the audience, for whom watching films in theatres was a ritual, is missing. This has impacted the average opening and collection of Hindi films. Data from Ormax Media underscore the shift. Non-Hindi titles — ranging from English to various regional languages — accounted for 63 per cent of nationwide box-office takings between January and May, only slightly lower than the 67 per cent share logged a year earlier. Hindi films improved their share to 37 per cent, buoyed by hits such as Chhaava and Raid 2, The Economic Times report mentioned. Dependence on big-budget releases Yet a handful of successes cannot reverse broader structural issues, warns media-ech consultant Prashen Kayla. 'One or two hits do not promise change in the business situation. The Hindi film industry is disproportionately dependent on big-budget films. Today, the industry needs more successful mid-budget films,' he said, as quoted by the report. Aamir Khan calls OTT a threat to Hindi cinema Bollywood actor Aamir Khan expressed concern over the growing trend of releasing Hindi films on OTT platforms shortly after their theatrical debut. According to him, this practice undermines the theatrical business model, especially when going to the cinema is increasingly viewed as a premium experience rather than a regular habit. In a conversation with screenwriter and lyricist Javed Akhtar, the issue of Hindi cinema's disconnect with audiences was brought up. Akhtar pointed out, 'The [Hindi] films have lost all connectivity with the audience. Dubbed South Indian films, featuring stars who are unknown to audiences here in North India, are releasing and doing ₹600–700 crore business. Even the few of our films that end up working are also directed by people from the South. What happened to our people?' Khan responded that the challenge is not about regional differences. 'The problem we are facing is something different,' he explained. He criticised the current model of content distribution in the industry: 'Please come and consume our product. If you don't, we'll come and drop it off at your doorstep in eight weeks (through OTT platforms). This is our business model.' OTT platforms reshape viewing habits The rise of OTT platforms has fundamentally altered how audiences consume films. Viewers now prefer the flexibility and affordability of streaming content from the comfort of their homes. Unlike cinemas, OTT allows for on-demand access with features such as pause, rewind, and fast-forward. Subscription costs are also considerably lower than the expenses associated with a theatrical outing. Younger viewers, in particular, have embraced this shift, leading to a decline in habitual theatre-going. While theatres still offer a unique and immersive viewing experience, they have responded by enhancing their offerings — introducing high-end formats like IMAX, luxury recliners, and gourmet concessions — to attract audiences seeking something beyond the standard home setup.
Time of India
2 days ago
- Entertainment
- Time of India
Box office grows 27% in 2025, but Bollywood remains worried
Film producers and distributors are not enthused with the 27% year-on-year growth in all-India box office collection in the first five months of 2025, saying the growth does not capture the "existential" challenges that have engulfed the industry. These challenges have, consequently, created an acute sense of "nervousness" among all key stakeholders in the film industry, they said. The all-India box office collection rose to ₹4,812 crore between January and May this year from ₹3,791 crore in the year-ago period, according to the May box office report by media and entertainment research firm Ormax Media. "Are we looking at numbers or real growth? Last year was an election year. So, it seems there is growth in collection. There is a huge difference between film business in multiplexes and the B-class and C-class centres," said Yusuf Shaikh, CEO and founder, Janta Cinema, an exhibitor that showcases films at affordable prices. Shaikh said there are two critical challenges in the Hindi film industry . "We have lost 20-25% of the elite audience in theatres in the past few years. Even cheap ticket prices have not brought this audience to theatres," he said. Another major concern, said Shaikh, is the glaring absence of well-made mass entertainers. "It is an irony. Elite audiences are absent in theatres. The masses who come to theatres do not have credible mass entertainers to watch," he said. Most industry veterans believe that, incrementally, a sense of apathy is growing among audiences about watching Hindi films in theatres. "Today, the audience for whom watching films in theatres was a ritual is missing. This has impacted the average opening and collection of Hindi films," said a film distributor, who requested anonymity. "Consequently, today, the mass audience is watching regional or non-Hindi films in theatres." According to Ormax Media, the contribution of non-Hindi films-including English and other language films-to the all-India box office collection in the first five months of 2025 was a huge 63%, indicating an increasing acceptance of non-Hindi content by audiences in the Hindi belt. In the same period last year, the contribution of non-Hindi content to the all-India collection was 67%. This is because the share of collection of Hindi films to all-India collection grew to 37% in January-May 2025 from 33% in January-May 2024. Chhaava and Raid 2 were two noteworthy hits that contributed to this growth. "One or two hits do not promise change in the business situation. The Hindi film industry is disproportionately dependent on big-budget films. Today, the industry needs more successful mid-budget films ," said Prashen Kyawal, a creative, post-producer and media-tech consultant. Producer Rajesh R Nair concurs. "Instead of a big-budget film, we need a few mid-budget films, which have fresh stories and talent. The Hindi film industry must reinvent. Time has come to back fresh stories and new talent," he said.
Mint
04-06-2025
- Business
- Mint
Single screens rebel as revenue model puts Telugu cinema on edge
The Telugu film industry may have avoided a strike by single-screen theatres this month across Andhra Pradesh and Telangana, but the issue is far from resolved. Single-screen cinemas are pushing for a shift from the minimum guarantee (MG) or rental-based model to a percentage-sharing arrangement, like the one enjoyed by multiplexes. Currently, single screens not only have to pay MGs to play films but also take home a meagre 10% of the box office, while multiplexes retain around 50%, with the larger chunk still going to distributors. This issue is especially crucial in the south, where single-screen theatres continue to operate in large numbers—unlike in the northern states—and drive substantial box office earnings. According to media consulting firm Ormax, Telugu films grossed ₹2,348 crore in 2024, contributing 20% of India's total box office. Trade experts estimate that over 80% of this revenue in the south comes from single-screen cinemas. Also read: Independent producers, boutique studios veer towards regional cinema for big gains 'There is no way single screen cinemas can survive if this continues. It is an unfortunate situation where distributors are acting very high handed and demand the commitment of MGs from single screens only who eventually earn 10-15% of what the film makes in their cinema, while multiplexes take home 50%," said Yusuf Shaikh, business head of feature films at Percept Pictures. Shaikh, who is also a committee member of the Film Federation of India, added that strong associations back single-screen operators in the south and the issue will likely be raised in other states like Maharashtra. Also read: The rise of Hollywood-style cinematic universes in southern films Cinemas under threat A single-screen theatre owner, who did not wish to be named, said, 'The loss is the producers' whose films may not release wide if theatres don't agree, but they don't seem to realise this." The owner warned that many small cinemas are shutting down, and the trend could accelerate. 'This is a time when India needs more second tier cinemas, which can operate at low costs in smaller markets. That is the only way for screen penetration to improve. This should force the industry to rethink else it is easy for owners to switch to other businesses or exit," the person added. Despite lower ticket rates, single-screen cinemas often match multiplex earnings due to higher footfalls. For instance, a major release that earns ₹60-65 lakh in a theatre might result in multiplexes earning ₹30 lakh, while the single screen takes home only ₹10 lakh. 'Such terms are outdated and leave nothing for the exhibitor. This is as good as asking the single screen to shut shop," said independent exhibitor Vishek Chauhan. Also read: Back to basics: PVR Inox to tap into underserved regions of India with low-cost cinemas for growth
Indian Express
10-05-2025
- Indian Express
Two former members of trust get three years in jail in FCRA case
The Central Bureau of Investigation (CBI) court of Ahmedabad convicted two former members of a Navsari-based Trust — Samast Muslim Khalifa Sunnatwal Jamat — and awarded them three years in jail in connection with a case under the Foreign Contribution Regulation Act (FCRA), said officials familiar with the matter. Former Sunnatwal Jamat president Yusuf Shaikh and former secretary Fakir Mohammad Jamalbhai Shaikh, who have been accused of criminal conspiracy, were also slapped with a total fine of Rs 60,000. According to sources, the CBI had registered a case against the Samast Muslim Khalifa Sunnatwal Jamat on January 17, 2012, alleging that the 'trust was not registered under the FCRA Act'. The CBI had alleged that Sunnatwal Jamat 'violated the provisions of the Act, on receiving a contribution of Rs 1.12 crore without having prior permission from the Government of India, during the period from 1998 to 2010-211 at different time intervals'. According to the case registered, the Sunnatwal Jamat was 'in contravention of Section 11 of FCRA and was punishable under Section 35 of the Act'. During the probe, the documents and vouchers produced by Sunnatwal Jamat could not justify the amount received by them, said sources quoting the case registered. After the investigation was completed, the CBI filed a chargesheet on 20 September 2017 against the accused. After the trial, the court found both accused guilty based on statements of witnesses and documentary evidence and sentenced them to three-year imprisonment.
Mint
06-05-2025
- Entertainment
- Mint
Why star-powered movies have OTT handprints all over them
Video streaming platforms constantly outbidding each other to acquire the post-theatrical rights of big-ticket films are now getting on board soon as high-profile star vehicles are announced, gaining outsized influence over the filmmaking in the process. For movie studios, the initial payments from the over-the-top ( OTT ) platforms serve as seed funding for production expenses. But beyond that, they are also finding that the theme and plotline of a movie may have to be modified to the platform's requirements. This often means avoiding controversial subjects such as hot-button political or social themes as OTT players, having come under government scrutiny recently, are playing it safe. Theatrical release dates are also sometimes altered or pushed so a film can find space in the streaming platform's quarterly calendar, which is planned in advance. 'The competition for the top 5-10 star films of the year is very high and the race starts right after the director and actor have come on board," said Yusuf Shaikh, business head-feature films, distribution, acquisition and IPR (intellectual property rights) management, at Percept Pictures, an entertainment, media and communications company. While theatrical movies come with censor board certification, streaming platforms still like to play it safe to appease their wide audiences and ensure they don't invoke the government's wrath, he added. Last year, although Nayanthara-starrer Annapoorani-The Goddess of Food had been cleared by the censor board and released in cinemas, it was removed from Netflix on producer Zee Studios' request after the movie triggered objections over its plot. 'While deals once struck are usually not gone back on, there is always pressure that can be put to avoid anything objectionable," said Shaikh. 'For instance, anything related to religion, politics or anti-nation is out of the question. Plus, no form of animal cruelty or violence will be allowed." Also read | Live entertainment takes centre stage on streaming platforms A senior content studio executive said streaming platforms that get on board early in the making of high-profile films are keen to avoid content that could possibly create controversies over religious or nationalist sentiment or be seen as anti-government. Producers have no option but to agree with the streaming platforms, especially if large production budgets, extensive visual effects and foreign crews are involved, the executive added, declining to be identified. Independent trade analyst Sreedhar Pillai said streaming platforms typically agree to come on board for a production after gauging if the buzz around a big-ticket film is adequately high, and depending on the stars associated with the project. 'A lot of delays are happening nowadays because the platform doesn't have a free slot to fit and stream the movie, which means it can't even release in theatres," Pillai added. To be sure, the mad race to acquire rights of big-ticket films often leaves several mid- and small-budget films unsold. 'OTTs can come on board at different stages for different films. For big star cast, event films, they come on board very early. But for smaller films and content films they may do so after watching the film or depending on the reputation of the producer and director," said Vipul Shah, promoter, Sunshine Pictures Ltd. 'They may also come on board after reading the script or after a detailed narration and understanding the vision of the makers." But while streaming platforms generally don't give too many suggestions, in some cases they do expect some changes, he said. Also read | Written off the page: Why Bollywood's screenwriters are struggling to earn a living
