Showing posts with label Gautam Dutta. Show all posts
Showing posts with label Gautam Dutta. Show all posts
Hollywood returns to India box office spotlight with Spider-Man: Brand New Day, The Odyssey and others
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Packed slate of major releases could help exhibitors rake in robust collections in the coming weeks
Rajesh N Naidu (THE ECONOMIC TIMES; July 15, 2026)
Mumbai: Hollywood’s tentpole films have steadily gained ground at the Indian box office over the past 18 months, a trend industry insiders expect to accelerate this month as a cluster of major releases arrives within a fortnight, boosting overall collections.
From superhero spectacle Spider-Man: Brand New Day and auteur-driven The Odyssey to kids and family entertainment Moana and horror genre Evil Dead Burn, Hollywood films offer exhibitors strong potential for robust collections in the coming weeks, exhibitors, film trade analysts and producers told ET.
“Hollywood has enjoyed a strong run in 2026, with films such as Obsession, Project Hail Mary and Michael, among others, reaffirming the strength of the English-language box office in India. The upcoming line-up is also remarkably diverse,” said Gautam Dutta, chief executive, revenue and operations at PVR Inox.
Diverse themes and audience segments are likely to play a pivotal role in the success of these event films, trade insiders said.
They foresee a highly favourable response, especially to Christopher Nolan’s The Odyssey and Spider-Man: Brand New Day, given their loyal fan bases.
“There is a large fan base for director Christopher Nolan, actor Tom Holland and Marvel films in India,” said producer Rajesh R Nair. “The success of Hollywood films over the past year has become even more visible because of the weak content coming from Hindi cinema. In July, these four films are likely to perform well as there is almost no competition, even from regional cinema,” he added.
According to trade sources, Spider-Man: Brand New Day has already generated pre-sales of Rs 5 crore in India, while The Odyssey has recorded pre-sales of around Rs 2 crore.
Distributors said the two films will be showcased extensively in premium-format screens, which is expected to further boost box-office collections in July.
“These Hollywood films will be released across premium large-format screens such as IMAX, ScreenX, 4DX and P[XL]. Ticket prices in these formats range from Rs 700 to Rs 3,300,” said Shaaminder Malik, distributor and film business expert.
“One must also bear in mind that they will be released in multiple Indian languages. Therefore, these global tentpole releases are likely to drive repeat visits to theatres, thereby boosting occupancy and collections.”
Film trade analysts estimate that, cumulatively, these four films could contribute close to Rs 400 crore to the Indian box office. They pointed out that a collection of Rs 20-30 crore is generally enough for a Hollywood film to be considered a hit in India.
“I expect The Odyssey and Spider-Man: Brand New Day to outperform the other Hollywood releases in the coming weeks. Both films can easily collect at least Rs 300 crore, given the high level of audience interest,” said Girish Johar, producer and film business expert.
Dhurandhar 2 pre-sales soar: Can Bollywood’s sequel curse be broken?
9:51 AM
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The film to release in India on 5,000-5,500 screens, could earn up to Rs. 80 cr on opening day
Rajesh N Naidu (THE ECONOMIC TIMES; March 9, 2026)
Mumbai: After a string of underwhelming Bollywood sequels — War 2, Dhadak 2, Mastiii 4, Jolly LLB 3 and De De Pyaar De 2 — the industry is watching whether Dhurandhar 2 can buck the trend. Exhibitors and distributors are citing strong early demand that suggests the film could break the jinx at a time when Bollywood is grappling with box office volatility and old formulas that are no longer working.
According to film trade analysts, the film will release in India on 5,000–5,500 screens and is likely to record Rs 75-80 crore in collections on opening day, March 19.
Audience appetite has been whetted by the blockbuster success of espionage actioner Dhurandhar, directed by Aditya Dhar and starring Ranveer Singh, Akshaye Khanna, Sanjay Dutt and others. Released in 2025, Dhurandhar is one of the biggest films ever, having grossed Rs. 1005.8 crore in India alone and close to Rs. 300 crore in the overseas markets, according to box office data research firm Sacnilk.
In overseas markets, the sequel has generated advance or pre-release ticket sales worth $800,000.
“This is not an ordinary sequel. Audiences have already bought tickets worth more than Rs 5 crore for preview shows (March 18) alone,” said Shaaminder Malik, a film distributor and trade analyst. “They don’t want to know spoilers before their theatre experience. Tickets are being sold in a premium price range of Rs 300 to Rs 2,500 for a four-hour film. This shows the audience’s eagerness.”
Experts said Dhurandhar 2 is a proper tentpole release expected to drive significant box-office momentum.
“It is already reflected in its ticket sales,” said Gautam Dutta, CEO, revenue and operations, PVR Inox. “It will be the biggest release in terms of screens in India. In fact, a comforting factor is that the film has at least two weeks with no major release, which means the scope for record collections is high.”
Optimism about Dhurandhar 2’s performance increased recently with the release of Toxic: A Fairy Tale For Grown-Ups being delayed--it was to have debuted on the same day.
“The postponement of Toxic: A Fairy Tale For Grown-Ups has effectively cleared the competitive landscape for Dhurandhar 2,” said Suniel Wadhwa, co-founder and director, Karmic Films. “When two highly awaited big films don’t clash, exhibitors typically allocate 40–50% more premium screens and show slots to the releasing film, which can materially strengthen its opening-day collection. In theatrical economics, clashes create headlines, but clear release windows create box office records.”
Dhurandhar 2 will be dubbed in all four southern languages, unlike the original, which was released only in Hindi.
“The sequel is dubbed in multiple southern languages, which broadens its reach in the southern territories, thereby significantly boosting its India collections by at least 25–30%,” said producer Rajesh R Nair. Screen density, especially single-screen halls, and overall screen share (over 50%) in the southern markets is higher than in the rest of India.
Conservative estimates by trade analysts suggest the film could record an opening weekend collection of Rs 250-300 crore.
“In the absence of competition, I think the film’s collections could easily be boosted by at least 25%,” said Girish Johar, film producer and industry expert. “Given the high audience interest, I foresee an opening weekend collection of Rs 300 crore for the film.”
Dhurandhar: The spy who came in with Rs 33 crore a day
11:31 PM
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Rajesh N Naidu (THE ECONOMIC TIMES; December 19, 2025)
Mumbai: The stupendous success of multi-starrer film Dhurandhar has not only spawned a new template but also rewritten the rules of crafting and presenting spy films in Bollywood, writers, producers, distributors and exhibitors told ET.
In just 13 days since its release, the film has collected Rs 437.25 crore (India net), according to box office research firm Sacnilk, translating into an average daily collection of Rs 33.6 crore. Mounted on a budget of Rs 250–350 crore for its two parts, according to trade analysts, Dhurandhar is currently the second highest-grossing film of 2025 after Chhaava, which collected Rs 716.9 crore in India.
A key factor behind Dhurandhar’s success is its clear departure from existing Hindi spy films.
“In Bollywood, spy films have often been cheaper and tackier versions of James Bond movies. The makers of Dhurandhar have consciously avoided that path. In doing so, they have rewritten the grammar of the spy genre in Bollywood,” said writer and investigative journalist Anirudhya Mitra.
“The film is mounted extremely well. Its sound, production design and cinematography make it a far more credible spy film. It almost feels like a Pakistani film with an Indian character—something audiences have not seen before,” he added.
According to the makers, the film’s detailed storytelling has resonated strongly with audiences.
“Today’s audience rejects lazy storytelling. They appreciate rigour in narratives and depth in character development. Dhurandhar recognizes this. It stays away from the usual Hindi spy trope of romance between agents from rival countries ending in a happy-ever-after,” said Jyoti Deshpande, president – Jio Studios (Media & Content Business at Reliance Industries), one of the film’s producers.
The film’s structure has also contributed significantly to its success, distributors said.
“It is a smartly made film. While the facts may not be entirely accurate, what truly works is its structure,” said distributor and trade analyst Shaaminder Malik.
Challenges such as shrinking attention spans and the lack of authenticity in contemporary films are addressed by presenting Dhurandhar's story as a series of interlinked short films and blending truth with fiction by selectively showing characters representing real people and fictionalising real people,” Malik added.
He said Dhurandhar’s director Aditya Dhar has also interwoven gangster-genre tropes with spy elements to create a fresh universe of larger-than-life characters.
“There is also a jingoistic flavour, which, though tempered, appeals to a section of audiences. These elements have found resonance across age groups,” said Malik.
Consequently, the film’s structure has triggered polarised but intense debates on social media, further fuelling audience curiosity and theatre footfalls.
Exhibitors have even introduced midnight and post-midnight shows, indicating sustained audience interest.
Acknowledging this trend, Gautam Dutta, CEO – revenue and operations at PVR INOX, said, “Dhurandhar has thrived on strong word-of-mouth, high social media engagement around its writing, performances and music, and sustained weekday box-office traction.”
Pushpa 2, Baby John and Mufasa: The Lion King could generate Rs. 1,500 cr at box office
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Pushpa 2, Baby John and Mufasa: The Lion King could generate close to Rs. 1,500 crore at the box office, say analysts
Rajesh N Naidu (THE ECONOMIC TIMES; November 28, 2024)
The Hindi film trade is betting on three highly anticipated releases to end 2024 with a big bang after what’s been a lacklustre year. Tellingly, only one of these is a bonafide Bollywood movie--Baby John, starring Varun Dhawan. The other two are Hindi dubs--Allu Arjun’s Pushpa 2 - The Rule (a Telugu original) and Disney’s Mufasa: The Lion King, with the titular character voiced by Bollywood star Shah Rukh Khan.
With the trade talking up their chances, analysts estimate these three movies have the potential to collect close to Rs1,500 crore at the box office, with Pushpa 2 accounting for as much as two-thirds of this. The film will be released on December 5, Mufasa on December 20 and Baby John on December 25.
“Pushpa 2 is the most anticipated film of the year,” said Gautam Dutta, CEO, revenue and operations, PVR INOX. “With its massive fan base eagerly waiting, the film is projected to be the highest grosser of the year. We are expecting house-full shows in cinemas across India.”
One of reasons for the optimism about December being a bumper movie month is the diversity of genres on offer. “December has always been huge for the Hindi film industry but this year is an exception,” said Girish Wankhede, an independent movie trade analyst. “Audiences have access to a diverse palette of genres: masala entertainer (Pushpa 2), action (Baby John) and a great franchise which has a strong recall or nostalgic value (Mufasa).
Besides this, these films are being promoted sufficiently well.” What will also work in favour of Pushpa 2 is the eagerness to discover what happens to the characters and plot threads introduced in the first instalment, Pushpa: The Rise (2021). The sequel could drum up Rs1,000 crore business on the opening weekend itself, according to trade estimates, given the fan frenzy over the Hindi version, the trailer of which has got higher views than the original in Telugu.
According to YouTube data, the Hindi trailer has got 72 million views, ahead of the Telugu version’s 62 million. A publicity event at Gandhi Maidan in Patna in Bihar attracted close to 200,000 people, indicating how deeply the film has penetrated the Hindi hinterland.
“There is tremendous craze around Pushpa 2,” said film distributor and trade analyst Shaaminder Malik. “The film makers have left no stone unturned in marketing and promoting the film. This has added to the curiosity.” He also pegs collections at Rs1,000 crore given the pan-India following.
Baby John, which presents actor Varun Dhawan in a mass action entertainer for the first time, could drum up business of Rs. 100-200 crore at the box office, Malik said.
The festive Christmas mood may prove advantageous for Baby John as well as the Disney release, with audiences equally excited about the Mufasa, especially with SRK’s voice.
"The origin story of Mufasa and Taka has generated huge interest among parents to showcase it to their children. We have received requests for group bookings from parents,” said Rahul Dhyani, founder of Connplex Cinemas, a miniplex (75-seat theatre) chain with halls in Bihar, Jharkhand, Maharashtra and Gujarat.
Many of these parents would have watched the original, animated movie The Lion King, back when it was released in 1994, its massive success spawning various spinoffs over the years. The film itself was remade in photorealistic animation in 2019.
“The film has a certain degree of familiarity among younger audiences,” Dhyani said. “Besides this, the franchise has a fairly loyal following among audiences who love animated movies. The voiceover of the film's Hindi version is done by actor Shah Rukh Khan, adding further excitement.” Mufasa could collect Rs. 100-200 crore all over India, he said. On the whole, he said these three films could collect close to Rs. 1,500 crore in December itself.
Apart from Hindi, Mufasa will also be dubbed in Tamil and Telugu, also by superstars--Arjun Das and Mahesh Babu, respectively.
Historically, December has been a key month for box office collections. The month has, in the past few years, seen big local and Hollywood releases such as Animal (2023), Godzilla Minus One (2023), Avatar: The Way of Water (2022), Spider-Man: No Way Home (2021) and Dabangg 3 (2019), all among the top 10 grossers in their years.
Now playing: Second show of movies at theatres near you
8:30 AM
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Re-release of old films such as Rockstar and Ghilli is helping exhibitors cover fixed costs after a muted June quarter
Rajesh N Naidu (THE ECONOMIC TIMES; September 23, 2024)
In the absence of fresh blockbusters, re-releasing old films has breathed new life into theaters, surprising the industry by not only helping exhibitors cover fixed costs but also proving that what didn't work before can succeed when the timing is right.
This strategy has borne fruits and provided reasonably good business to exhibitors after a muted June 2024 quarter.
Gautam Dutta, CEO, revenue & operations at PVR INOX said, "From a slightly muted response in the beginning, we have seen strong response from audiences. Films such as Rockstar (2011), Ghilli (2004), Laila Majnu (2018) and Tumbbad (2018) generated footfalls in the range of 4-700000 and occupancy of 35-43%." He added, "In all, we have re-released 50 films across languages across our more than 1,700 screens and most films have received good response."
According to Dutta, these 50 films have cumulatively generated 60,00,000 footfalls in theatres. He said that these footfalls are likely to grow in the coming weeks and will amount to 4% of the annual footfalls the multiplex. Ticket prices for these re-released films have been set between Rs. 112 and Rs. 149.
Exhibitors say that running a multiplex screen involves significant fixed costs, including rentals, electricity, water charges, and other operating expenses.
According to the FY24 annual report of PVR Inox, fixed costs as a percentage of its total costs is 55.1%. This highlights the substantial costs multiplexes face in the absence of an attractive lineup of new movies, making the strategy of re-releasing old films a sensible approach.
Quite favorably, these re-released films have not only generated decent box office collections but also boosted food and beverage sales. According to data from multiplexes, popular titles like Ghilli (Tamil), Rockstar (Hindi), and Laila Majnu (Hindi) have brought in Rs. 10-50 crore since their re-release. Interestingly, trade analysts note that the 2018 film Tumbbad collected Rs. 18.9 crore overall, with an opening day haul of Rs. 1.65 crore-surpassing the Rs. 1.15 crore earned by the new release The Buckingham Murders (2024) on its debut.
Devang Sampat, managing director at Cinepolis India said, "We have been engaging with audiences on social media platforms and doing online polling. Through targeted marketing through our social media platforms we select films to showcase in theatres. There is a demand for alternate content. Whether it is sporting events or showing old films, the audience is looking for good and engaging content."
He added, "In 450 screens, we have a million visitors. Films such as Rockstar (2011) and Tumbbad (2018) have generated stupendous responses from the audience. Though there is a repeat audience for these old films, a large section of the audience belongs to Generation Z who were not born when these films were released."
Multiplexes expect a blockbuster weekend; record footfalls likely
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Record footfalls likely during 5-day weekend, which coincides with top Hindi & regional movie screenings: Execs
Javed Farooqui (THE ECONOMIC TIMES; August 14, 2024)
Film exhibitors expect record footfalls through the five-day weekend that coincides with the screening of potentially blockbuster Hindi and regional films, such as Stree 2, Khel Khel Mein, Vedaa, Double iSmart, and Thangalaan.
Executives at PVR Inox and Cinepolis say that the footfalls during the five-day long weekend that begins with Independence Day on Thursday have the potential to break the previous year's record of 35 million footfalls during the I-Day week.
"For us, it's better when 4 to 5 films work well in tandem rather than one film going through the roof. Stree 2 and Khel Khel Mein are seeing strong traction, but Vedaa, Double iSmart, and Thangalaan are also looking very promising," said PVR Inox co-CEO Gautam Dutta.
PVR Inox has done advance bookings of 4.5 lakh tickets between the five movies and expects ticket sales to accelerate as the week progresses.
"This is just the tip of the iceberg, as we have just opened Thursday, Friday, Saturday, and Sunday bookings. This number should be looked at from the perspective that the trend of advance bookings is not very high," Dutta added.
PVR Inox is expecting footfalls of four million between Thursday and Sunday. "We are expecting a million footfalls on Thursday. We are looking to do a footfall of about 3 million on Friday, Saturday, and Sunday," Dutta said.
Cinepolis India MD Devang Sampat said that the movie line-up looks promising as the content is diverse, catering to audiences with different tastes. Cinepolis is eyeing 1.2 million footfalls during the week.
"We have a five-day holiday, which has never happened in the past. What Gadar 2 and OMG 2 did last year, we are expecting something similar to happen this year," he said, adding that it has already sold 1 lakh tickets for Stree 2, Khel Khel Mein, and Vedaa during the weekend.
Jio Studios and Maddock Films’ Stree 2 has sold over 1 lakh tickets for the opening day alone within 48 hours of tickets going up for sale. Going by the advance booking data, the movie has already garnered over Rs 30 crore for the opening day on August 15
Would moviegoing be incomplete without the ads? Experts share their views
8:38 AM
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Would moviegoing be incomplete without the ads played before a film and during the interval? A theatre chain has set in motion a debate around its feasibility and if it will really raise footfall
Navya Kharbanda (HINDUSTAN TIMES; April 28, 2024)
Recently, PVR INOX launched an ad-free movies policy in select luxury screens across Delhi, Gurugram, Bengaluru and Mumbai, amid declining theatre footfalls. Also, it is believed that weak box-office collections of even the big-budget films have affected the theatre business in the last quarter.
Cutting down the length of the ads slotted before a movie from 35 minutes to 10 minutes, the theatre chain is looking to add extra shows. Can this practice actually increase footfalls? Will it change the experience for moviegoers in any way? Will the time buffer that these ads allow audiences to reach the cinemas, render it counter-intuitive?
“One of the things that the consumers expressed is that when they get in, they have to wait 15-20 minutes as a pre-show. So, they’d like it if the ad time was a bit shorter. Another set of audience expressed that they don’t mind if we scrapped the ads and charge them a little more. We aim to get the right balance between the number of ads playing and the overall experience,” says Gautam Dutta, CEO-Revenue and Operations, PVR INOX Limited, adding, “We will see if people will pay a little extra for a more premium experience, or if we are able to get one extra show in.”
Will more theatres follow suit?
Negating the query that they will anytime adopt the no-ad policy and emphasising the value of ad revenue, Devang Sampat, CEO, Cinepolis, shares: “In the past, advertisers looked at blockbusters, but that is changing. They’re now advertising throughout the year, no matter how well the movie performs.”
Addressing the reasoning for such a step being footfall, he continues, “Footfalls are only improving every year. You never know which film would work. So, advertisers and brands are now looking at continuing campaigns running round the year.”
On the other hand, Rajan Gupta, owner, Liberty Cinema, says, “At Liberty, we haven’t been showing ads for years. We are anti-ads. I am really surprised that it has taken them this long to figure it out. You might be making money from ads, but it is taking away from the viewers’ experience.”
To show or not to show?
The high-end properties where this has been announced have tickets priced at around Rs. 1,500, so ad revenue is a fraction of the revenue that comes to the cinemas. But for theatres where the price of tickets is Rs. 150-200, if there are no advertisements, it becomes infeasible for the projection systems to be deployed and ticket cost to be justified. For this larger demographic, 10-15 minutes of advertisements don’t really spoil the movie-going experience.
Experts speak
Akshaye Rathi, film exhibitor: If you really have a flow of great movies that can entertain, no one cares about ads or no ads. In the last few months, there has been a decrease in footfall because of the inconsistency in the quality of content. Give me a Jawan, Pathaan, Gadar or The Kerala Story every second week, and the footfalls will skyrocket.
Girish Johar, producer and film trade analyst: The issue on ground is that this is happening only in the metros. They will ask for an extra amount on the ticket price for this premium offering. It’s a good marketing tool to be explored, but it should give them a couple of hours to add another show on their screens.
Exhibitors expect to struggle in allotting screens to Shah Rukh Khan-starrer Dunki and Prabhas-starrer Salaar
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Clash of SRK, Prabhas’s films at the box office makes divide between single screens and multiplexes evident as exhibitors struggle with screen allotment
Priyanka Sharma (MID-DAY; December 16, 2023)
Even though the release of multiple films on the same day is not an anomalous trend in the film business, it’s always a subject of discussion when the films in concern are fronted by two heavyweights.
A week away from their date with viewers, Shah Rukh Khan’s social dramedy Dunki and South star Prabhas-led actioner Salaar: Part 1—Ceasefire, have got trade experts speculating how the clash will affect box-office collections. Apart from analyzing the advance bookings of the films that will release just one day apart, distributors continue to decipher an appropriate way to schedule shows for both films, we are told.
Rajasthan-based distributor and exhibitor Raj Bansal calls this clash “iconic” given that two big stars from the North and South industries are set to face off at the box-office. “Salaar is stronger in the South because of Prabhas and director Prashanth Neel, who last delivered KGF: Chapter 2. Dunki is strong across India, but has an edge in the North. I feel, Dunki will take 60 per cent [of the seats] in the North, while Salaar will take 60 per cent in the South,” he says.
He is, however, quick to admit that clashes of this nature never favour either of the two films, with each facing the risk of losing 20 to 25 per cent of their business.
Bihar-based exhibitor Vishek Chauhan says the loss is even bigger for exhibitors. “Producers can still earn revenues from other platforms, like streaming sites and music rights. But an exhibitor finds himself in a fix. He would have preferred to showcase such big films independently to get good business. Right now, Animal is continuing to do well. Producers should understand and respect the challenge that such a clash poses to us. There are, after all, only four to six shows in a day. With [the Hollywood film] Aquaman also set to release over the same window, we will bear losses because we will have to divide screen time among four films,” he says.
While Bansal believes that single-screen theatres will favour Salaar, Chauhan says Khan’s collaboration with Dunki director Rajkummar Hirani is also a tease for this market that may not be keen on the genre of social narratives. “I have spoken to exhibitors from small cities, and none of them are ready to [ignore] Dunki,” Chauhan says.
Gautam Dutta, Co-CEO, PVR INOX Ltd, views the situation through a positive lens. He believes that the multiplex chain is equipped to allot enough shows to both the films. “Situations like these are good issues that we like to face, as they bring in huge footfall for cinemas. We are looking forward to the busy phase starting from the Christmas weekend and stretching right into the new year.”
INOX has 1,709 of the 5,000 screens in India.
PVR Inox bets on PVR Passport to push footfalls on weekdays
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Javed Farooqui (THE ECONOMIC TIMES; October 17, 2023)
Mumbai: PVR Inox co-CEO Gautam Dutta said that the launch of the monthly subscription service will help the company grow footfalls during the weekdays besides uplifting small and medium films that are getting overshadowed by big films at the box office.
The monthly Passport subscription service, which launched on Monday, will allow subscribers to watch up to 10 movies per month for Rs. 699 from Monday to Thursday, which works out to roughly Rs. 70 per film.
In the first phase, PVR Inox has restricted the Passport subscription to 20,000 consumers. It is hoped that the subscriptions will be totally sold out in two to three days. “The Passport subscription service will be a boon for small and medium films. For the industry, it will lead to the release of more films and grow footfalls,” Dutta said, cautioning that this is not a price promotion but about removing friction for consumers to get to a cinema.
He pointed out that the trend in the film industry is that the big is getting bigger and the small is struggling while pointing to the box office collections of Jawan, Pathaan, and Gadar 2.
In a note, Nuvama Institutional Equities executive director Abneesh Roy said that this initiative can be a win-win for customers and PVR Inox; however, too many conditions will limit its offtake.
“It will appeal to value buyers (students, housewives, and senior citizens) and heavy users and help PVR augment occupancy on weekdays when it is low. However, there are quite a few conditions attached that may limit its offtake,” he stated.
Nostalgia drives re-releases of classics and popular movies
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Niharika Lal (BOMBAY TIMES; September 23, 2023)
When veteran actress Waheeda Rehman heard that four classics of Dev Anand, including Guide which also featured her, were being re-released, she wondered if moviegoers would be interested in watching 60–70-year-old films in cinemas. She was surprised to know that the shows of these films C.I.D. (1956), Guide (1965), Jewel Thief (1967) and Johny Mera Naam (1970), which will happen over this weekend as part of Dev Anand’s birth centenary celebrations, had been sold out.
"Restored and remastered films provide a higher-quality viewing experience. Post the pandemic younger audiences are going out for movies while the older audience has stayed away. Re-release of classic titles has enabled us to bring back this audience to cinemas."
- Gautam Dutta, Co-CEO, PVR INOX Limited
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“These special screenings offer a chance to relive iconic moments and share the magic of timeless films with a new generation of cinema enthusiasts. The response to re-releases has been overwhelming."
- Devang Sampat, CEO Cinepolis India
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"When I recently met Waheeda ji to invite her to the Dev Anand film festival, she was shocked to discover that there is a huge craze among people for these classics. She couldn't believe that the shows of these re-releases were mostly sold-out."
- Shivendra Singh Dungarpur, film archivist and director of Film Heritage Foundation
SOME MAJOR RE-RELEASES IN THE RECENT PAST
- Khalnayak, on completion of 30 years of the film
- Koi Mil Gaya, to celebrate its 20th anniversary
- RRR, before the Academy Awards ceremony
- Avatar, before the release of Avatar 2 Gadar, before the release of Gadar 2
- Dilwale Dulhania Le Jayenge, to celebrate Shah Rukh Khan’s birthday
‘Re-releases offer youngsters a chance to discover classics’
A part from the Dev Anand films, Kamal Haasan’s 1987 film Pushpak is set to be re-released in theatres soon. Exhibitors say that in the last year, several films have been re-released to celebrate actors’ birth anniversaries, film anniversaries, and even to hype some upcoming sequels. Industry insiders say that the reason why there’s such a huge demand for these films is because “re-releases give young moviegoers a chance to discover classics on the big screen and evoke nostalgia in the older generation”.
SPECIAL FESTS TO SCREEN OLDER FILMS VALENTINE’S WEEK FILM FESTIVAL
Movies like Titanic (English), Dilwale Dulhania Le Jayenge (Hindi), Ticket to Paradise (English), Ved (Marathi), Geetha Govindam (Telugu), Vinnaithaandi Varuvaayaa (Tamil), Hridayam (Malayalam), Googly (Kannada), Love Ni Bhavai (Gujarati) were re-released as part of the festival in multiple cities
DILIP KUMAR HERO OF HEROES
To mark Dilip Kumar’s birth centenary, Aan (1952), Devdas (1955), Ram Aur Shyam (1967) and Shakti (1982) were released in 31 cinemas in 21 cities
CHRISTOPHER NOLAN FESTIVAL
Interstellar, Inception, The Dark Knight and Dunkirk were re-released ahead of Oppenheimer’s release date
SUPERSTAR RAJINIKANTH BIRTHDAY SPECIAL
It was held in Chennai and Coimbatore last year with shows of Baba (2002), Sivaji: The Boss (2007), 2.0 (2018) and Darbar (2020)
BACHCHAN BACK TO THE BEGINNING
To celebrate Amitabh Bachchan’s 80th birthday, a film festival was organized in 17 cities where Kaala Patthar, Kaalia, Kabhi Kabhie, Namak Halaal, Abhimaan, Don and Deewaar were screened
Multiplexes bet big on Adipurush after dull fourth quarter
8:28 AM
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Javed Farooqui (THE ECONOMIC TIMES; June 16, 2023)
Cinema exhibitors are betting big on actor Prabhas’ epic mythological film ‘Adipurush’ to bring back footfalls after a challenging fourth quarter that witnessed a drop in footfalls due to the underwhelming performances of films barring ‘Pathaan’ and ‘Avatar: The Way of Water’.
PVR Inox Co-CEO Gautam Dutta said the multiplex chain has received a stupendous response to the pre-bookings of ‘Adipurush’. “The advance bookings for the first day of the release have been doubling with each passing day after we clocked over 1.50 lakh admissions yesterday,” Dutta said.
He said the film is truly a made-for-the-big-screen experience that would appeal to all age groups. “We are witnessing maximum bookings for the Telugu version after Hindi. While senior citizens would prefer to watch this movie due to its mythological angle, children would show interest due to VFX,” Dutta noted.
Made at an estimated budget of Rs 500 crore, the multilingual film released today in Hindi, Tamil, Telugu, Malayalam, and Kannada across 5,000 screens in India.
BookMyShow COO Ashish Saksena said the advance sales for the film crossed 1.5 million tickets on the platform. "While the Telugu version is naturally leading the charts on the platform in terms of ticket sales, Hindi is a close second. The 3D format is the most preferred format of watching the film on the big screen with over 72% of movie-goers opting for the immersive movie-watching experience," he stated.
Elara Securities SVP Karan Taurani said Adipurush will come as a respite for cinema exhibitors who have been facing dwindling occupancy levels, which are still below pre-pandemic levels. He noted that The Kerala Story has been the only silver lining for the industry.
"We expect a strong opening day in South India, as net box office opening there could be in the range of Rs 50–60 crore for dubbed languages, whereas Hindi too would be healthy at Rs 20 crore. In terms of lifetime domestic box office, we expect a net box office collection of Rs 350 crore to Rs 400 crore," he added.
Junglee Pictures CEO Amrita Pandey said June has always been a phenomenal release period over the years for youth and family movies. "We are now looking forward to the June and July theatrical releases performing well at the box office. The theatrical admissions for Zara Hatke Zara Bachke have been extremely encouraging for the industry."
Film business expert Girish Johar expects Adipurush to generate high footfalls across languages since this is the first major tentpole film that will be released after Pathaan.
"Another factor going in the film's favour is the fact that this is the holiday season for school kids. The story is deeply rooted in Indian culture, so it will attract family audiences," he said.
Johar also stated that the audience's preference for watching the kind of movies in theatres has totally changed. "Audiences are willing to watch content-driven films in theatres." They are not bothered about the genre or the cast of the film."
Dutta said that the recent trend of multilingual content being popular among pan-India audiences is holding true. "We would continue to see more of such movies doing well on the national scene," he noted.
According to a GroupM-Ormax Media report, the gross box-office collection stood at Rs 10,637 crore in 2022.
Flop Bollywood films leave cinemas in crisis?
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Experts weigh in on the reasons for the situation and assert that Hindi films alone can’t be blamed
Sugandha Rawal (HINDUSTAN TIMES; May 22, 2023)
The big screen might be back to life after the pandemic-induced lull, but the business is yet to return to normalcy with Bollywood films failing to elicit expected response at the box office. And it is turning out to be a worrisome situation for cinema halls across India.
If we talk about this year, only a handful of projects from the Hindi film industry such as Pathaan, Kisi Ka Bhai Kisi Ki Jaan and The Kerala Story have fared well at the box office. Lack of footfalls at the theatre is creating a loss scenario for the theatre owners. Recently, PVR INOX Ltd reported a consolidated net loss of Rs 333.99 crore for the fourth quarter that ended on March 31, 2023, revealing that they are planning to shut nearly 50 loss-making cinema screens in the next six months.
“At the moment, the biggest sufferers are not the producers or the distributors but the exhibitors. When films don’t work, the theatres are the first to be hit. The producer can take time and plan next films, and the distributors can take a decision to not release a few films for a certain period. But the exhibitors need to have one or two films every week. And the exhibition sector is bleeding at the moment, with many theatres closing down,” says trade expert Taran Adarsh, adding, “it is a very grave scenario at the moment”.
Some time back, a report by Ormax also stated that while Hindi is the most-watched language, with 5.8 crore audience, the Hindi theatre-going universe has shrunk by 21.5 percent from the pre-pandemic time. It also stated that India box office revenue crossed the Rs 10,000- crore mark, but footfalls remain lower than the pre-pandemic levels.
According to trade expert and producer Girish Johar, the first quarter of 2023-2024 was 30-35 per cent behind the 2018-2019 quarter. Expensive ticket price is one of the reasons behind the drop in footfalls,
Explaining the ticket business, trade expert Atul Mohan shares, “You can’t price Rs 600 for a ticket for Shah Rukh Khan film, and a small or medium budget film. The pricing system has to be different, especially when it is known that people are aware that the content will soon come to the OTT space. Cinema is a business of volume. Apne mehnga karke pehle hi disconnect kar diya hai.”
“The dynamics of the box office have completely changed. Much higher superiority quality of content is available at the push of a remote button. Now, venturing out to the cinema is for a larger experience. It has become an expensive proposition. The single outing for a family turns out to be over Rs 5000. And if the content is sub standard, you feel cheated. That is why only tentpole projects are working, and other projects are crashing from the first show itself,” he adds.
Here, Devang Sampat, CEO, Cinepolis, adds, “The first quarter was disappointing, apart from Pathaan and few south Indian tiles, nothing worked. We are not seeing this for the first time, and hope to be back to normal soon”.
Things might seem grim at the moment, but industry insiders are expected to pick up going forward with films such as Maidaan, Satyaprem Ki Katha, Adipurush and Jawan slated to release.
Breaking down the scenario, Gautam Dutta, Co-CEO, PVR INOX Ltd, shares, “The recent concerns are not significant, and should settle down in the near future. The Hindi cinema industry has always been resilient and has managed to bounce back from difficult periods in the past…We surely expect the Hindi cinema to make a comeback with new exciting releases in the coming months”.
Here, Raj Kumar Mehrotra, general manager at the Capital’s Delite Cinema, shuns the idea that it is a dark time for cinemas, because Hollywood films as well as South Indian titles are filling the gap.
“For instance, the third part of Guardians Of The Galaxy worked well, and the new instalment of Fast And Furious is also seeing good business with 85 percent occupancy. People want good content, no matter what language,” he says.
Director Anees Bazmee also feels it is wrong to blame Hindi films for the closure of cinema halls in India. “There are times when cinema halls don’t work at one point, but some other place. It can’t be blamed on the poor performance of Bollywood films in the theatre. Yes, pictures are not working because they are not good, and people are used to watching content on OTT. But it is not right to blame that cinema halls are closing because Hindi films are not working. There are many factors involved,” he ends.

Merger was the best way to make balance sheet stronger-Ajay Bijli
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Vinod Mahanta and Javed Farooqui (THE ECONOMIC TIMES; March 27, 2023)
A key priority for PVR-Inox currently is improving margins through better capital and operating expenses, says managing director Ajay Bijli. In an interview with ET’s Vinod Mahanta and Javed Farooqui, Bijli talks about the contours of the deal to merge the two companies that has created the world’s fifth largest multiplex chain and what lies ahead for the combined entity. Edited excerpts:
What was the rationale behind the merger of PVR and Inox?
This (multiplex) business has always been about scale. Only when you reach a certain scale, do economies kick in. Achieving a certain scale allows for operating and cost efficiencies, as seen in large companies worldwide with 4,000-5,000 screens or more. The pandemic completely devastated our balance sheets and business. And, the best way to make our balance sheet stronger and address the challenges we faced was through the merger. The merger allowed us to take on the challenges that lay ahead in the the exhibition industry. But it also means we have more responsibility now with more screens, seats to fill, people to manage, and expectations to meet.
How is the integration process going on?
Fortunately, the integration process is going well. We started with the day-one structure and prioritized bringing people together. We hired Kornferry about three–four weeks ago to assist with this process. We developed the day-one structure to give clarity on everyone's roles and responsibilities, which was essential for our 23,000–24,000 employees. Now we are looking at synergies in every revenue line, and we have launched a new 100-day initiative called Parikrama. We're currently exploring ways to improve various aspects of our business, such as ticket prices, advertising revenue, and cost items, whether its capex or opex. There are about 13-14 initiatives that are going on simultaneously, which BCG is monitoring. We've informed the markets that it will take at least 12-24 months before we start seeing the benefits of our efforts. We have given it a value of Rs. 225 crore in synergy.
PVR and Inox promoters would own 10.6% and 16.9% of PVR-Inox, respectively. How will operational side of it work?
I have been appointed as the MD of the company by the board and shareholders, along with the Jain family as executive directors with equal representation on the board. The chairman is Pavan Jain. As MD, I am responsible for running the company for the next five years. At the operating level, we have two co-CEOs due to the large scale of our operations. We have roughly 1,700 screens, including 180 that are currently being fitted out. So, the span of control of Gautam Dutta, who is CEO of North and South, is equivalent to the span of control of Alok Tandon, who is looking after West, East and Central. Our focus is on economies of scale and adopting best practices from both companies.
Has occupancy reached pre-Covid levels? Will the higher ticket pricing hold after the Coronavirus bump subsides?
Occupancy rates vary by region, with the South having reached pre-Covid levels while West, North and East have not. We do think the ticket prices will hold. They haven't gone up by that much; it’s less than inflation in a three-year period. By the way, minimum wages have gone up, electricity has gone up, and so have all input costs. We have stayed below inflation.
Do you see a recovery in ad revenue once big-budget movies start doing better?
Everything is dependent on footfall — all our revenues are binary. The FY23-24 line-up is looking good. We have Ajay Devgn’s Bholaa releasing now, and John Wick: Chapter 4 has been released and has gotten a lot of traction. Then we have Karan Johar’s Rocky Aur Rani Ki Prem Kahani. Ajay Devgn’s Maidaan is coming.
"National Cinema Day has brought the houseful board from the ’60s and ’70s back to cinemas"
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Niharika Lal (BOMBAY TIMES; September 23, 2022)
After announcing that they’d offer movie tickets for just Rs. 75 on National Cinema Day on September 23, cinemas across the country witnessed a huge spike in advance bookings. So, if you are planning to visit the cinema today, be sure to cross-check whether tickets are still available!
WE ARE SEEING ALMOST 100% OCCUPANCY: CINEMAS
While the average ticket price is in the range of Rs. 200-300, today several cinemas are offering tickets at Rs. 75 for all mainstream options. Cinemas are also offering discounted prices for luxury formats. For example, tickets for gold class seats, which are usually priced at Rs. 800-1,200, will be available for Rs. 400 today in some cinemas.
Exhibitor and industry expert Raj Bansal also pointed out that it seems like National Cinema Day may help some recent releases set new collection records. Yogesh Raizada, corporate head, Wave Cinemas says, “Across cinemas, we are experiencing the highest number of bookings since not just the last two years of the pandemic, but even before that. It seems like the National Cinema Day has brought the houseful board from the ’60s and ’70s back to cinemas. While we were expecting people to be back in cinemas on National Cinema Day, we hadn’t expected this surge in advance bookings.”
‘ADVANCE BOOKING NUMBERS ARE SHOWING THE MAGIC OF LOW TICKET PRICES’
Raj Bansal says, “What we are witnessing on the National Cinema Day is the magic of low ticket prices. It proves that the audience is still very much interested in watching films on the big screen. The houseful board is back this Friday because tickets are affordable.”
He adds, “At Raj Mandir in Jaipur, shows of recent releases are totally sold out. Other cinemas too say that they have received a massive number of advance bookings. By Wednesday night, cinemas in North India had sold approximately 8 lakh tickets in advance bookings, and the number may go up to 13 lakh on Friday.”
Girish Johar, producer and business analyst says, “In north, west, central and east India, the response has been quite positive. Audiences will be back to the theatres in huge numbers on the National Cinema Day and it will certainly provide the fraternity food for thought on lowering ticket prices on other days too.”
‘THIS DAY WILL BE ETCHED IN THE MEMORY OF CINEPHILES’
Gautam Dutta, CEO, PVR Limited says, “We have received an overwhelming response to the announcement of National Cinema Day. Almost all shows booked through the PVR mobile app have been sold out across the country a day before the designated day. As expected, this day will be etched in the memory of cinephiles. This clearly proves that cinema is the leading outof-home entertainment destination in India and the big screen experience continues to attract all segments of audiences”.
Devang Sampat, CEO, Cinepolis India, adds, “The advance booking numbers are very encouraging. In fact, on Friday, we will see our highest occupancy day –at almost 100% – in the history of Cinepolis in India.”
A RECORD WILL BE CREATED ON SEPTEMBER 23
Kamal Gianchandani, President, Multiplex Association of India (MAI) told us, “Almost 50% inventory of all participating cinemas were sold out in advance as pre-sales.”
“A record number of moviegoers are expected to visit cinemas on Friday to celebrate the National Cinema Day. The response to the pre-sales has been unprecedented and September 23 is on course to become the highest-attended day of the year for cinemas across the country,” MAI said in a statement.
Raising ticket prices by 23% helped PVR clock revenue of over Rs. 1000 crores in Q1, says Gautam Dutta
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Faizan Haidar (ECONOMIC TIMES; July 27, 2022)
India’s largest multiplex chain, PVR, raised ticket prices by up to 23% on account of inflation, cost of labour and redevelopment costs, helping the company post its best ever quarterly revenues that crossed the Rs 1,000-crore threshold, CEO Gautam Dutta told ET.
"Every year, we used to hike the prices by 5–7%, but we couldn’t do that in the last two and a half years. During this time, electricity costs, rent and maintenance charges have gone up, so we had to hike the prices," said Dutta.
The CEO said he expected growth to continue even as footfalls at cinemas are yet to reach the pre-Covid levels.
The movie chain also expects to generate pre-pandemic level advertising revenues by Q3 FY23 as it plans to roll out new ways of audience engagement within theatres, Dutta said.
Revenue from advertising currently stands at 68% of the pre-pandemic level.
About 11% of the company’s revenue used to come from advertising, which dipped significantly during the pandemic, and PVR expects to reach that number by Q3 FY 2023.
It has introduced 270-degree on-screen experiential in-cinema advertising for the first time in India to drive higher excitement for brands.
"We are confident that this innovative method of advertising, which is ideal for product debuts, will help brands make a lasting impression on theatregoers' emotions. PVR is really looking forward to collaborating with more brands and advertisers to revolutionize in-cinema advertising," Dutta added.
After the pandemic, PVR has been trying hard to break the inertia of inaction on advertising and film promotions.
"We play close to about 16–18 minutes of advertising. Now, within that, there are certain brands which are saying, I really need to pop out, and I've got a big launch. So can you make it more impactful for me? So we did this exercise, and you will never imagine that the sidewalls of a cinema would also light up. It clearly means better engagement, better impact, and more recall for advertisers, and that's exactly what we tried," Dutta said.
As part of experiential advertising, the side walls, roof, and seats of the theatre can be used for advertising by extra projectors.
PVR has planned to open about 100-110 screens in 2022-23, which is more than the 80–90 screens on an average in the year before the pandemic. This fiscal year, the company intends to invest Rs 400 crore, a large portion of which will go toward redeveloping the existing theatre.
PVR reported losses of Rs 748 crore in FY21 and Rs 488 crore in FY22 as cinema operations were impacted due to restrictions imposed by various state governments to curb the spread of the Covid-19 pandemic in March 2020.
Footfalls at theatres are at 87% of the pre-Covid levels, and the company plans to enter seven new cities this year.
Badhaai Do proves people are ready to go back to cinemas to watch good content-Raj Bansal
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Despite COVID restrictions & 50% capacity in theatres, the film’s performance at the box office shows that moviegoers are craving the big screen experience, say distributors
Niharika Lal (BOMBAY TIMES; February 18, 2022)
Badhaai Do was the first major Hindi film to hit the big screen on February 11, right after cinemas reopened, and its strong run at the box office so far has exhibitors feeling optimistic about the industry rebounding from pandemic losses. Footfall has gone up not just on weekends, but weekdays too, they tell us, while trade analysts are confident that the film is headed for another good week.
IT WAS A BRAVE AND BOLD DECISION TO RELEASE THE FILM WHEN NO ONE ELSE WOULD, WHICH HAS WORKED IN BADHAAI DO’S FAVOUR: DISTRIBUTORS
Just as the Hindi film industry thought it was getting back to its feet after the pandemic, Omicron led several theatres across the country to pull down shutters, and all January releases were pushed to March and April. When theatres finally reopened, Badhaai Do was the first major Hindi release, and despite 50% occupancy and other Coronavirus restrictions — thanks to word-of-mouth publicity and strong content — the film is doing quite well at the box office, say trade analysts and distributors.
Raj Bansal, industry expert, says, “I am really impressed with the Badhaai Do makers’ decision to release the film on February 11, at a time when others weren’t ready to take the same call. It was a brave and bold decision and it has paid dividends. The film is doing very well, and the release date being close to Valentine’s Day was an added impetus. The film’s already collected Rs. 11 crore plus in five days, even with the restrictions in most of the states. It was a master strategy indeed.”
Stressing on how the lack of any other releases and the release date falling close to Valentine’s Day worked in the film’s favour, Girish Johar, producer and film business expert, explains, “Valentine’s Day is not a holiday, but it is a celebratory occasion, when young people like to go out. It’s had a positive impact on the film, specifically in metros like Delhi and Bengaluru, where the film is doing well. And with no major film scheduled to release next week either, Badhaai Do will get more audiences.”
Bansal adds, “Badhaai Do also has the added advantage of its prequel Badhaai Ho being a hit. With the audience appreciating the film, footfall is going up, and we are expecting another good weekend. It has shown the way to upcoming films by proving that people are ready to go back to cinemas to watch good content.”
‘IT IS 200% ESTABLISHED NOW THAT PEOPLE WILL STEP OUT FOR SOMETHING WORTH THEIR TIME AND MONEY’
Akshaye Rathi, director, Aashirwad theatres, and an industry expert, says, “Badhaai Do is an interesting film that’s designed to grow with word-of-mouth publicity. It’s performance at the box office — that was strong on the weekends, as well as the weekdays — was a pleasant surprise. I’m sure that it will continue to do well.” He adds, “It’s 200% established now that be it cinemas — or even restaurants or malls — people will step out if the product or service is worth their time, effort and money. The hesitancy to go out has definitely come down and the return to normalcy has happened quite quickly.”
WE’RE EXPECTING AN EVEN BETTER SECOND WEEKEND FOR BADHAAI DO: EXHIBITORS
Cinemas and distributors are expecting the film’s second weekend to be even better than the first. That’s because Badhaai Do managed to get a good opening despite COVID restrictions and many people being unaware that cinemas had reopened.
Devang Sampat, CEO, Cinepolis, says, “Badhaai Do’s content is very strong. Positive reviews are helping the film and we are expecting the second weekend of the film to be better than the first. During the first week of its release, most people didn’t even know that cinemas had reopened or that there were new releases. The film is gaining momentum in cities like Bengaluru and Mumbai, where the night curfew has been lifted. And now that people are getting to know that cinemas are open, footfalls are increasing.”
Agrees Rajender Singh Jyala, chief programming officer at Inox Leisure, “On the first day, many people were not aware whether the film would release in cinemas or OTT. Still, the film is holding up well and doing good in the north and Maharashtra. Delhi and Haryana still don’t have night shows, which has definitely impacted collections, but otherwise it’s a good turnout.”
‘THROUGH BADHAAI DO,THE MAKERS OF THE MOVIE HAVE PAID A TRIBUTE TO THE SHEER RESILIENCE OF CINEMAS THAT HAVE SAILED THROUGH THREE COVID WAVES’
Gautam Dutta, CEO, PVR Limited, says, “Badhaai Do is the first Bollywood blockbuster after the third wave of the pandemic, and has been well appreciated by our patrons. The timing of the release — right during Valentine’s Week — has been appropriate. Belonging to the hugely successful ‘comedy’ genre of movies, it has appealed to audiences while at the same time addressing an extremely relevant social angle of inclusivity portrayed by an excellent star cast. Through Badhaai Do, the makers of the movie have paid a tribute to the sheer resilience of cinemas that have sailed through three COVID waves.”
With its strong performance at the BO, Badhaai Do has shown the way to upcoming releases by proving people are ready to return to cinemas.
We wanted PVR Maison to be like a seven star hotel, where people can come and rejuvenate-Gautam Dutta
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The special auditorium at the BKC property
As Maharashtra theatres reopen today, leading cinema chain chief discusses upping the ante to lure audiences; is confident that movie halls will co-exist with OTT
Mohar Basu (MID-DAY; October 22, 2021)
Cinemas are finally back in action today. Where the exhibitors are heaving a sigh of relief, it’s not lost on them either that content alone will no longer be able to lure people back to the movies. Two days before the reopening of theatres in Maharashtra, we paid a visit to PVR’s new luxury property in Bandra Kurla Complex. With this endeavour, Gautam Dutta, CEO, PVR, hopes to start a new concept in movie-viewing — one that he describes as “movie-cation”. What does that entail, you ask? Private screening rooms called The Loft, artisanal coffee, menus curated by chefs from five-star hotels, an elaborate sushi section, and vegan desserts handcrafted by Parisian patisseries.
Clearly, theatre owners are amping up their game to ensure they don’t lose out in the race against OTT platforms. But we’ll get to that later. When we begin our conversation with Dutta, the obvious question is: How did cinemas survive the past one-and-a-half years? “We knew we would bounce back. People had said movie halls will shut down when the Indian Premier League started, and when piracy [hit the industry]. Now they say the same because of the OTT [boom]. Over the past 18 months, we saw severe salary cuts, but we didn’t lay off people. We raised money through capital, equity and loans. Our leaders liquidated assets, but better days were bound to come,” states Dutta.
Many filmmakers expressed solidarity with exhibitors by holding off the release of their movies. The line-up ahead is impressive, with Akshay Kumar’s Sooryavanshi, Shahid Kapoor’s Jersey, Ayushmann Khurrana’s Chandigarh Kare Aashiqui, Ranveer Singh’s '83 and many more awaiting their turn at the marquee. On their part, the theatre owners are pulling out new tricks from their bags.
“We’re no longer in the business of showing movies. We wanted this property to be like a seven-star hotel, where people can [come and rejuvenate].”
Pricing could be a matter of concern, at a time when the spending power of people is probably at an all-time low. He counters that, saying, “We will have schemes and introductory offers to lure people back. When we started gold class and recliners, people said nobody would pay for those. Even now, those are the first seats to go. Property investments essentially are for posterity. We have a long-term vision of expanding the experience.”
Four biggies are lined up for the first week — Daniel Craig’s No Time to Die, Venom: Let There Be Carnage, Dune and Bellbottom. All eyes though are on Kumar’s cop caper that will hit the screens on Diwali. “The whole circuit will [hopefully] come alive, like the Punjab market did with Diljit Dosanjh’s Honsla Rakh. The market is registering better numbers than what it did pre-pandemic.”
The coming months will determine whether the measures will be enough to draw audiences, who are now accustomed to having movies only a click away. Surprisingly though, Dutta doesn’t view OTT entertainment as its competitor. “People who consume more OTT, consume more cinema. Data proves there is co-relation. We [function] as parallels, and not as one versus the other. That said, filmmakers want their movies to open on the big screen.”
Not long ago, some cinema chains were in conversation with Netflix and Amazon to bring OTT content to the big screen. “We felt we could host special screenings of pilots and finales. But to have 10-hour binge-athons felt too laborious. The length of the episodes is the roadblock. Hopefully, that will happen in the near future. Shershaah, after all, premiered at Chanakya in Delhi.”
Dutta is hopeful that the earlier routine of Fridays will return. Sharing an analogy, he says, “I put on weight every time I eat sweets. So I ask my wife not to bring sweets home. Movies are just like that box of sweets. Mithai ka dabba kholne ki deri hai.”
Mumbai cinema halls await state go-ahead to boost occupancy
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Bella Jaisinghani & Mohua Das | TNN (THE TIMES OF INDIA; February 1, 2021)
Mumbai: The Centre on Sunday announced that cinema halls and theatres will be permitted to operate at 100% capacity from February 1. However, filmmakers and multiplex owners in the city are awaiting a similar notification from the state government to restore normalcy to the trade, given that Mumbai is the heart of India’s film industry.
So far, theatres were allowed to operate with 50% patronage. Gautam Dutta, CEO of PVR Ltd, said, “We thank the I&B ministry for allowing 100% seating capacity...This move will give confidence to producers to release their films, and audiences to return to the cinemas.”
However, exhibitor Manoj Desai of G-7 Multiplex and Prakash Chaphalkar, secretary of the Multiplex Association of India, pointed out that the state government has not made a similar declaration yet. Chaphalkar said, “BJP-ruled states like Gujarat and Tamil Nadu have issued a photocopy order for their states. But unless Maharashtra permits 100% seating capacity, we cannot expect producers to draft a smooth rollout for their films.” He expects Maharashtra to permit full reopening 15 days after the Centre’s order.
“A business that has been closed for a whole year can attain normalcy only once all cinema halls nationwide are uniformly allowed to operate at 100% capacity. In Mumbai, the full restoration of local trains for the public is also important. Even under the new rules, train commuters are not permitted to travel freely during peak hour which is a hurdle,” Chaphalkar said. “Also the lockdown has caused deals to be renegotiated between producers and distributors, between property owners and multiplexes. Once all these issues are sorted out only then can screenings resume.” He said that as yet, no new releases are scheduled before April 2.
Not just during protests, we have to deal with hooligans even for ‘tasteless coffee’ and ‘cold popcorn’, say cinemas
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After the assault of a multiplex manager in Pune over the price of popcorn, cinemas say that hooliganism over such petty issues is quite common, but go unreported because they don’t want bad publicity
Rachana Dubey (BOMBAY TIMES; July 2, 2018)
Last week, a group of Maharashtra Navnirman Sena (MNS) workers thrashed the manager of a PVR multiplex in Pune over the price of food items sold there. A video of the incident soon went viral on social media. While several incidents of hooliganism and vandalism in cinema halls, by groups protesting the release of films, have been reported from across the country, assaulting of cinema hall staff over food prices is a rarity. However, a few exhibitors insist that now, they have to deal with hooligans not only when a film offends a group, but also for ‘cold popcorn’, ‘tasteless coffee’, ‘high rate of food items’, and ‘unnecessary frisking’. They say that even stopping drunk moviegoers can prove dangerous for the safety of their staff and patrons.
Meanwhile, PVR has filed an FIR against the attackers. In an official statement, Gautam Dutta, CEO, PVR Cinemas, says, “Safety and security of our employees and of our patrons is of utmost importance to us and we take all adequate measures to secure our employees and patrons. Handling unlawful action, violence and maintaining law and order in the city is the responsibility of the state government and the state police. We have full confidence in them, we are working with them closely so that appropriate steps can be taken in this matter at the soonest.”
‘SUCH INCIDENTS CAN HAPPEN HERE, TOO’
Manoj Desai, executive director of G7 and Maratha Mandir, says, “Every cinema hall or chain charges a price they think is apt for tickets and food. We don’t charge over Rs 30 for food and Rs 100 for tickets. We cater to the masses. As for the episode in Pune, let me tell you that such incidents can happen in Mumbai. So many times, political party workers try to get their point across. The person talking to them has to be tactful and polite. I don’t see any other way out.”
Yogesh Raizada, Corporate Head, Wave Cinemas, agrees, “We are in the hospitality industry and this is a given in our industry. We train our staff to be polite, but firm. However, we can’t stop such incidents completely and will have to deal with this hooliganism. No one in the industry can name even one cinema hall where the exhibitor or the staff members haven’t faced hooligans. But we don’t complain because it’s bad publicity for us.”
‘WORKERS AT CINEMAS FEEL THREATENED’
Nitin Datar, President, Cinema Owners and Exhibitors association of India says, “What happened in Pune was a shameful act. No one should take law into their hands, no matter what. People can always complain to the authorities, but as we can see, the situation is becoming deplorable, especially in cinema halls. Whether it’s about the prices of tickets or eatables, or the decision to run a film which has been cleared for release, people working at cinemas are bound to feel mentally and physically threatened because of protestors.”
Datar points out that the matter relating to revision in food prices is in court. The other problem is whether a patron can bring his or her own food inside the halls or not. “Even that matter is before the court. As far as I understand, no place except Delhi has a law prohibiting food from being taken inside the hall. Multiplexes have argued that if this can be allowed in one state, it should be in other states, too. Personally, I feel that they should allow children, sick people or the elderly to take their food, water and medicines inside the hall.”
He adds, “Multiplexes feel that they pay higher overheads and rents and eventually, the burden is passed on to the consumer. There is no law that restricts a person or an organisation from charging a fee they think is feasible for their products and/or services. Many years ago, the government of Maharashtra had passed a Government Resolution (GR), capping the rates of tickets, but cinema owners moved court against it and got it negated. So, it’s up to the public as to where they want to watch a film and whether they are willing to pay a price.”
Meanwhile, the Retail Association of India has also condemned the Pune attack. “Maharashtra is a state that recognises and respects the contribution of retail to the economy. It is the first state to initiate a policy especially for retail, that has helped increase the ease of doing business and employment in the sector. RAI condemns acts of violence against retail employees in Pune, who work hard to serve customers. Such acts are against the law, disrupt business and endanger the lives of retail employees. We trust the government to serve justice,” a statement issued by the association reads.
‘NOT A FAIR PRACTICE’
Arun Surve from MNS, whose member Kishor Shinde attacked the employee at PVR, Pune, says, “We have conducted similar protests in Mumbai also. If a bottle of water costs Rs 15, why should anyone pay Rs 100 for it inside a multiplex? I understand that there will be a price difference, but the margins that there are currently between the prices are too steep which we think is not a fair practice. In April, even the Bombay High Court had said that multiplexes are charging high prices. I want to understand what these taxes are that only multiplexes pay, for which they extort money from patrons. There is no law that can stop anyone from taking their ghar ka paani and khaana inside a cinema hall, but they don’t let us do that. When employees at these cinema halls are spoken to politely, they refuse to act on what we’re saying. As workers from a party, we’re not goons but as public representatives, we’re trying to underline the sentiments of the aam aadmi.”
With inputs from Niharika Lal
Free all-women screenings of Pad Man to be held in PVR Cinemas in several cities
8:43 AM
Posted by Fenil Seta

To create awareness on menstrual hygiene, Akshay joins hands with multiplex chain to organise ladies-only screenings of Pad Man across metropolitan cities
Mohar Basu (MID-DAY; February 12, 2018)
By signing a film like Pad Man, Akshay Kumar took the first step towards de-stigmatising menstruation — a topic that has unfortunately been taboo in India. The actor and his producer wife Twinkle Khanna were certain that the R Balki-directed film would initiate a much-needed dialogue on menstrual hygiene. Now, in a bid to promote the cause further, the makers have tied up with a multiplex chain to organise all-women screenings of the film. Taking Kumar’s vision ahead, PVR Cinemas has arranged exclusive all-women Pad Man shows that kickstart today and will run till February 15. The special screenings, which will have women patrons enjoy the Sonam Kapoor and Radhika Apte starrer free of cost, will be arranged across metros like Mumbai, Delhi, Bengaluru, Kolkata and Hyderabad among others. Turns out, it was an idea that Kumar and the makers were toying with, right through the development of the film that is based on social entrepreneur Arunachalam Muruganantham, who devised a low-cost sanitary pad-making machine. Given the subject of the film, the actor was of the opinion that it should reach as many women as possible. Aware that the prohibitive prices of tickets could be a deterrent, the team decided that the social drama be screened for the female audience free of cost on the chosen dates.
Confirming the story, Vivek Krishnani, MD, Sony Pictures, co- producers of the film, says, “It’s our way of expressing gratitude for the incredible love and support the film is receiving.”
Gautam Dutta, CEO, PVR Cinemas says, “We are happy to collaborate with the team of Pad Man for this unique initiative. The movie has been successful in garnering good response from the audiences, and we hope that it continues to inspire everyone.”
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