No show: Independent films struggle to find screening slots in theatres even in absence of commercial cinema
Independent films in India face challenges in securing screenings despite low supply of commercial movies. Filmmakers call for equal opportunities while experts highlight the need for marketing support to attract audiences back to theatres post-pandemic.
Critically acclaimed Indian films that sparkle on the international festival circuit are finding it hard to be screened in the country even though theatres are struggling with low supply of new commercial films and mostly resorting to re-releases of old hits.
Last week, 46 independent filmmakers came together to call for fair and equal opportunities for their films, typically made on shoestring budgets without mainstream stars, to be shown in cinemas across India. This came on the heels of the limited and inconvenient showtimes given to the film Agra, which director Kanu Behl had publicised on social media.
Experts said these films usually depend on word-of-mouth and critical reviews. While such films used to lure some audiences before covid, the segment has largely moved to OTT now. Meanwhile, some makers try to drum up support online for their films among cinephiles, hoping it would result in more shows in theatres, though it remains to be seen if this could emerge as a viable mechanism for small film distribution.
“Small and mid-budget films across languages routinely face severely limited screenings, morning-only or weekday-only slots, sudden show cancellations, a lack of transparency around programming decisions, and imbalanced prioritization of big-budget releases," the independent filmmakers said in a joint statement.
Referring to Agra, they said the film struggled to secure fair and accessible showtimes across multiplexes despite significant audience interest and extensive media coverage.
This isn’t the first time such films have received a raw deal in theatres—director Neeraj Ghaywan’s Homebound, the Indian entry for Best International Feature Film at the Academy Awards that is backed by Karan Johar’s Dharma Productions, wrapped up its theatrical run with collections of ₹3 crore this September.
In 2023, Manoj Bajpayee-starrer Joram, which had been screened at multiple festivals, made ₹40 lakh in Indian cinemas. Critically acclaimed All We Imagine As Light, which won the Grand Prix at Cannes in 2024, met with a similar fate.
Distribution problem
However, exhibitors insist they are not at fault. Rahul Puri, managing director of Mukta Arts and Mukta A2 Cinemas, emphasized that it’s not as though theatres do not want to play these films or that they are picking bigger budget movies over them.
“The problem is of distribution strength and that hasn’t been resolved," Puri said.
He referred to the issue of marketing and publicity muscle where ₹6-8 crore has to be spent on print, television, radio and digital advertising including YouTube and social media promotions for viewers to even become aware of the film. Then, there is the need for a distribution network that can negotiate revenue sharing and other details with cinemas.
For these films, often made for ₹3-4 crore, it would mean spending double the production cost on such logistics. One film cannot fight the battle alone, Puri pointed out, and there is a need for independent filmmakers to come together and bargain collectively.
Before the pandemic, festival-driven films had a small but loyal audience in select cities, according to Bhuvanesh Mendiratta, managing director of Miraj Entertainment Ltd, a company that operates multiplexes.
“Post-pandemic, what we’ve seen is that audiences are even more eager to come back to theatres for experiences that feel special—whether it’s a big spectacle or a powerful, word-of-mouth-driven film. Theatrical viewership has become more discerning, which means a strong story can still travel if given space and the right positioning," Mendiratta said.
Films such as 12th Fail and The Kashmir Files show that even smaller stories can surprise at the box office when nurtured well in cinemas. The opportunity is there—it’s about choosing the right release windows and marketing to let these films breathe on the big screen, he added.
Show allocation
Experts pointed out that much of the buzz and conversation around many of these films on social media doesn’t translate into theatrical footfalls. The people who patronize these films online don’t necessarily turn up and pay to watch them.
While filmmakers like Behl have managed to drum up support among cinephiles online, programming experts at theatre chains insist that show allocation or increase in show timings is a more complex process.
Calls have to be taken based on the number of enquiries, which means there have to be enough people asking about a film in each theatre for there to be an entire show. Therefore, it remains to be seen if social media can act as a catalyst for small film distribution.
“A lot of people feel these films can be watched at home on OTT once they have smelled it as that kind of a film. Cinema still means entertainment," said film producer Shariq Patel who had toured multiple festivals with Joram during his stint at Zee Studios.
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