Showing posts with label Sanjeev Bijli. Show all posts
Showing posts with label Sanjeev Bijli. Show all posts
Real challenge facing the multiplexes today isn’t pricing, but consumers' time, says PVR Inox's Sanjeev Bijli
8:33 AM
Javed Farooqui (THE ECONOMIC TIMES; July 7, 2025)
The real challenge facing the multiplex industry today isn’t pricing, but time, said Sanjeev Bijli, Executive Director of PVR Inox. With a growing number of entertainment options competing for consumer attention, from streaming platforms to mobile content, audiences are more selective about where and how they spend their leisure hours.
For multiplex operators, the competition is no longer just about ticket sales but about capturing a share of limited time in an increasingly crowded media landscape.
Bijli sees this shift as central to how the company is evolving. As India’s largest cinema chain with 1700 screens gears up to open 100 new screens in FY26, including a significant push in South India, Bijli outlines a strategy focused on regional expansion, experience-led engagement, and adapting to changing consumption patterns.
"The real challenge isn’t pricing, it’s time. Today, consumers have more entertainment options than ever. We’re competing not just for their money, but for their time," said Bijli.
On the perception that high ticket prices deter moviegoers, Bijli responded, “This argument comes up often, but I don’t think pricing is a deterrent. Our average ticket price is around Rs 250 to 260, which is very reasonable for the experience we offer. Compared to global pricing, $10 or more in the US, we’re very affordable at around $3.”
“If price were a real issue, films like Chhaava, Mission: Impossible – The Final Reckoning, Avatar: The Way Of Water, Pushpa 2 – The Rule, and Kalki 2898 AD wouldn’t become blockbusters. People wouldn’t turn up and make these Rs 500 to 600 crore hits. It’s all about content. If the content resonates, as it did with Stree 2, Bhool Bhulaiyaa 3, Singham Again, and others, audiences will come regardless of price.”
For FY26, PVR INOX is planning a total investment of around Rs 300 crore. “Our capex on new properties this year will be just over Rs 200 crore, with an additional Rs 100 crore allocated for renovations and investments in IT and technology. Continuous upgrades are essential for operating a large national circuit like ours,” Bijli said.
Of the 100 new screens planned for FY26, 40% will be in South India, particularly Hyderabad and Bangalore, as the region continues to drive significant growth for PVR INOX.
“We’re opening a four-screen cinema at SMR Vinay Mall in Hyderabad, taking our total to 24 screens opened this year,” said Bijli. “We're on track to meet our target of adding 100 screens in FY26. Of these, 40 will be in South India, particularly Hyderabad and Bangalore, which accounts for about 40% of our total expansion. So, the South continues to contribute significantly to our growth.”
Explaining the momentum in the southern market, he said, “The South is rapidly catching up in terms of mall development. Earlier, regions like the North and West, Delhi, Mumbai, and Pune were ahead, and the South was a few years behind. But now, the South has caught up.”
“Developers like Inorbit, Prestige, and Lake Shore, who’ve been long-standing partners of ours, are building high-quality malls, and we’re their preferred cinema partner. These strong relationships and the pace of development are driving our expansion in the region.”
On whether this aggressive expansion risks skewing the balance between screen count and revenue contribution, Bijli said that is already the case. "Currently, South India contributes about 40% of our screen count. And it’s not just a skew in screens, revenues are also higher in the South than in any other region.”
“So, it makes sense to continue expanding there, not indiscriminately, but in specific catchments where there’s demand. These are the markets we’re focusing on, not just in the South, but across the country. That said, the South remains a priority because of strong developments, untapped markets, and a consistent appetite for cinema.”
Contrary to the perception that Hindi-speaking markets are lagging, Bijli offered a more optimistic view. “We’ve had a good first quarter (Q1 FY26). Films like Sitaare Zameen Par and Raid 2 in May performed very well. Housefull 5 also delivered strong numbers. Even Maa, the horror film starring Kajol, has done well. Bhool Chuk Maaf performed strongly toward the end of May. So, we've seen solid success in the Hindi belt too.”
Looking at year-on-year trends, Bijli said, “We’ve done better. About 33.5 million people visited our cinemas in Q1 this year, compared to 30 million last year. That’s a healthy increase of around 10 to 11%.”
He emphasized that a quality experience is central to drawing audiences. “For us, everything starts with the product. If the product is strong, people will come. That means ensuring excellent sound, projection, technology, and seat comfort. Then comes food and beverage quality, customer service, air conditioning, all of which contribute to a smooth, pleasant experience. If guests spend three hours with us, we want it to be completely frictionless and enjoyable, so they want to return.”
To supplement this, PVR INOX has stepped up marketing efforts. “Our Blockbuster Tuesday offer, Rs 99 tickets, has doubled Tuesday admissions from 2 lakh to 4.5 lakh. We have app download offers with Rs 100 discounts, bottomless F&B refills on Fridays, and more. These are just a few examples of the creative campaigns our marketing team rolls out to drive footfalls.”
With half of its new screens to be developed under the FOCO model, Bijli sees this as a strategic adaptation. “About 50% of them will follow the FOCO model. We’re fortunate to have developer partners who believe in our brand and are excited to work with us under this structure.”
He dismissed the idea that this shift signals the decline of the traditional multiplex model. “I don’t agree. While there has been some change in consumer behaviour, it’s not a paradigm shift. In FY25, we had 130 million visitors to our cinemas, a number that clearly shows people are still coming out for the big screen experience.”
“Yes, there’s been a slight dip, maybe 10%, and we’re adapting to that. One way is by exploring models like FOCO, where we share capital expenditure with developers.”
Highlighting the role of multiplexes in driving traffic to malls, he added, “Multiplexes are often located on the top floors of malls and act as major footfall drivers. When a big film releases, like Chhaava or Sitaare Zameen Par, the entire mall benefits. Restaurants, cafes, and retail all see a bump.”
“Developers recognize this value, which is why many are willing to contribute to the multiplex CapEx. It’s not a new concept. This model has been widely used in the West for years. Even in India, brands like McDonald’s have followed this approach, often relying on developer-funded CapEx. We’re simply applying similar principles to adapt to the evolving market.”
Oscar-nominated films pull audiences to cinemas
9:25 AM
Niharika Lal (BOMBAY TIMES; March 1, 2025)
It’s Oscar season, and cinemas are rolling out releases and re-releases of nominated films. Recently, a screening of Conclave sold out, and most of its shows are pulling in audiences. Last year, Anatomy Of A Fall (Best Original Screenplay) also drew large crowds. There was a time when Oscar-nominated films weren’t widely available in India, but that’s changed. Now, these films are available in cinemas, and some are also available on streaming platforms. However, most films released during Oscar week see increased footfalls in cinemas. Exhibitors say that the market for foreign films in India has grown, which is why they are able to secure more foreign films for theatrical releases. We spoke to cinema experts to understand how Oscar season releases work in cinemas.
‘Films that haven’t released on OTT attract the highest footfalls in cinemas’
Girish Johar, producer and cinema business analyst, says, “A major reason these films get the kind of occupancy they do is that movie buffs prefer the big screen over home viewing. Unlike regular Hindi films, where moviegoers often wait for them to arrive on streaming, award-season favourites drive people to theatres.”
Raj Bansal, exhibitor and cinema business expert, agrees, “It goes without saying that films that haven’t released on any platform tend to attract the highest footfalls in cinemas due to the FOMO factor.”
‘Foreign film market has grown in India, but some films get stuck at the CBFC’
Exhibitors say that the market for foreign films in India has grown, which is why they are able to secure more foreign films for theatrical releases.
Sanjeev Bijli, Executive Director of a cinema chain, says, “Last year, Anatomy Of A Fall and The Zone Of Interest, which were among the top 10 Oscar nominees, were released. This year, two foreign films, Emilia Pérez and I'm Still Here, are set for release. Foreign production houses definitely see India as a growing market. However, sometimes these films get stuck because of censorship. One year, The Favourite got stuck because of censorship and never got released. This year, Anora, a frontrunner for Best Picture, which was to be released in India is facing the same problem and could not get a release date. The Apprentice, which had already been acquired for release in India, also got stuck due to censorship.”
He elaborates, “Distributors are willing to take the risk and release these films in India during the Oscar buzz as it leads to some business. We tried a lot with The Apprentice, as Sebastian Stan has also been nominated in the Best Actor category. But it’s unfortunate that the censor board insisted on cuts. In such cases, the producer or director sometimes refuse to release the film with those cuts because it compromises their narrative and creativity.”
‘Access to news from BAFTA, Golden Globes fuels the appetite of Indian moviegoers to watch these films on the big screen’
Earlier, these films were not available to Indian audiences. In the last 10-12 years, Oscar-nominated films have become available for theatrical release. The availability of these films has increased, and the audience has become more evolved in their tastes, say exhibitors. Sanjeev Bijli says, “The award season buzz, which kicks off in November with the Golden Globes, SAG Awards, and BAFTAs, has become very newsy. I think access to all that news has fuelled the appetite of Indian moviegoers to watch these films on the big screen.”
Exhibitors say that by and large, most films released and re-released during Oscar season attract audiences from all age groups. This year, films such as The Brutalist, Conclave, and A Complete Unknown are expected to appeal more to an older audience.
‘A movie ticket costs less than video-on-demand’
Exhibitors say the demand for Oscar-nominated films has grown so significantly that cinemas now schedule screenings in Tier-II and Tier-III cities also, and not just in metros. Yogesh Raizada, Director of a cinema chain, explains, “The response to Oscar-nominated films has grown over the years. When streaming services were not widely available in India, people would go to websites to watch pirated versions of Oscar nominees, so the interest has always been there.”
A senior programmer of a cinema chain adds, “Some of these Oscar-nominated films are available on streaming, but not everyone has subscriptions to five or six streaming platforms. Plus, some platforms have a model of video-on-demand model, where you must pay additional Rs. 200-500 for a film. A movie ticket costs less. So, beyond the two or three films available on widely accessible platforms, there is an audience that eagerly waits for Oscar season releases.”
PVR Inox derisking by making costs variable-Sanjeev Bijli
2:23 PM
PVR exec director Sanjeev Bijli says making cost structure flexible will ensure profitability won’t take a hit
Ratna Bhushan (THE ECONOMIC TIMES; July 7, 2024)
PVR Inox is derisking the multiplex business by changing cost structures "from fixed to as variable as possible" to ensure that profitability is not hit at the country's largest multiplex chain even if a film doesn't do well, executive director Sanjeev Bijli said.
"We are looking at more revenue share, low rental deals with developers, rationalization of manpower costs, making our structures very lean, so margins can improve," Bijli told ET's The Morning Brief podcast.
The chain is shutting down 80-90 non-performing screens, and will set up 10 food courts in this financial year through its joint venture partner Devyani International, which operates KFC and Pizza Hut, to maximize pre-ticketing F&B sales, Bijli said.
"We are also really focused on reducing debt this year, by judiciously deploying capital to new projects only and having extra cash to reduce debt levels," he said. Some of the measures include pushing revenues through ticket pricing optimization, food and beverage sales, and segmentation and hyper-segmenting content to get more people in multiplexes, he said.
Measures to derisk the Friday-to-Friday release dependency also include screening live cricket, bulk ticket pricing, F&B promotions and non-traditional content such as concerts and conferences, he said.
PVR Inox, which operates 1,757 screens, has shut about 70 screens and going forward, will shutter 80-90 more screens, which the multiplex sees as non-performing assets.
"Half of the screens came from PVR; the other half came from Inox. We realized these were assets that were giving negative EBITDA and had come to an end of their product life cycles, also in terms of the malls they were in," he said. "It's then difficult to pull audiences to an empty mall, just for cinema watching, because it has to work together. The whole destination factor has to come together and work together," Bijli said.
At the same time, the chain plans to open 80-100 new screens this year. "We are committed to opening screens at good locations, where the propensity to spend and watch movies is high," he added.
Nuvama Institutional Equities wrote in a July 1 report that with its primary focus on the movie exhibition business, the combined entity of PVR Inox continues to ramp up margin-accretive segments such as F&B and ad revenues, which it noted would drive EBITDA expansion for the business.
"However, key risks could be unavailability of quality content, slowdown in consumer discretionary spends, delay in roll out of proposed multiplexes, and competition from OTT and digital video platforms," the Nuvama report said.
Multiplexes saw a subdued April and May because of the heat wave, which kept people indoors, and Lok Sabha elections and the IPL T20 when movie launches were staggered.
"Q1 was affected in months of April and May, but based on the movie line-up, both Q2 and Q3 look very strong, be it Hindi, Hollywood or regional," Bijli said. After Kalki 2898 AD, which is currently running in cinemas, Sarfira, Bad Newz, Khel Khel Mein and Deadpool & Wolverine are some of the big releases lined up.
On competition from OTT, he said while streaming platforms gained momentum during the pandemic amid closure of cinemas, now "water has found its own level".
"It's taken time... but now production houses are preferring to release films at cinemas first, because cinemas clearly are the bearer of success...box office numbers only come from a cinema."
Lok Sabha polls weigh heavily on box office as collections remain below Rs 500 cr for first time since Feb 2023
8:39 AM
Javed Farooqui (THE ECONOMIC TIMES; May 20, 2024)
The general election has weighed heavily on the box office in April, amid delay in releases and underperformance of Bollywood films, experts said, adding that the scenario will remain unchanged or worsen in May. According to Ormax Media, gross domestic box office (BO) collections for April stood at Rs 457 crore - below the Rs 500-crore mark for the first time since February 2023.
A year ago, in April, the gross box office mop-up was at Rs. 618 crore, led by the performance of Tamil film Ponniyin Selvan II.
This year, despite Eid, Ugadi and Tamil New Year holidays falling in April, only one film managed to cross Rs 100 crore at the box office, according to the report. Malayalam action-comedy Aavesham was the top grosser, garnering Rs 101 crore.
Two more Malayalam films, Manjummel Boys and Aadujeevitham - The Goat Life, earned more than Rs 100 crore at the box office so far this year. However, the second-highest grosser in April, Hindi action thriller Bade Miyan Chote Miyan, only managed Rs 73 crore, followed by sports drama Maidaan, at Rs 61 crore.
Miraj Entertainment managing director Amit Sharma said, "Elections have kept film releases away post-Eid."
"Due to this, April has been one of the worst months so far," said Sharma of Miraj. He also pointed to subpar performances of the two Hindi releases in April and indicated that a dearth of big openings may lead to further deterioration at the box office in May.
PVR Inox executive director Sanjeev Bijli expects a surge in moviegoers after the election. "What will change is the robust pipeline. People (will be) back at cinemas because of the supply... the appetite to go out and watch movies has always been there," he said during the company's fourth quarter earnings call recently.
Cumulative box office collections for January-April are Rs 3,071 crore, on a par with the same period last year.
The top grossers of 2024 till now are Fighter (Rs 243 crore), Hanuman (Rs 240 crore), Shaitaan (Rs 179 crore), Manjummel Boys (Rs 170 crore) and Guntur Kaaram (Rs 142 crore).
Hindi films had the highest share of gross domestic collections (36%), followed by Telugu (21%), Malayalam (19%), Tamil (9%) and English (8%).
PVR Inox looks to grow pre-ticketing F&B business after its JV with Devyani
9:45 AM
Javed Farooqui (THE ECONOMIC TIMES; May 18, 2024)
PVR Inox's joint venture (JV) with Devyani International will help the company pivot from being a pure-play cinema exhibitor to also having a large role in the booming food and beverage (F&B) segment, a top company official said.
The multiplex operator recently inked a JV with Devyani International, which runs quick-service restaurants (QSRs) like KFC and Pizza Hut. Devyani will own 51% of the JV, with PVR holding the remaining 49% stake.
Speaking to analysts during the Q4 earnings call, PVR Inox executive director Sanjeev Bijli said the JV will allow the multiplex chain to grow its pre-ticketing F&B business.
Currently, it earns most of its F&B revenue post-ticketing, which is only when a consumer buys a movie ticket.
"We felt this partnership was a win-win one because we get to have some F&B revenues, which are pre-ticketed. We can get the opportunity to come up with some branded food courts," Bijli said.
He noted that most shopping malls lack branded food courts, and PVR Inox, which attracted 150 million moviegoers in FY24, can add value in this area.
The branded food courts are expected to help PVR increase its wallet share among existing consumers.
In FY24, PVR Inox's revenue from the sale of F&B jumped 21% to Rs 1958 crore, while F&B spend per head rose 11% to Rs 132.
PVR Inox will bring value to the JV in the form of negotiating better rental deals and locations with real estate developers. The food courts will be located adjacent to PVR Inox cinemas.
While declining to comment about the investments being made by the JV, PVR Inox CFO Nitin Sood said the initial plan was to open 5-6 food courts. "We are still in the process of developing a long-term business plan."
Bijli said the exit quarter of FY24 was soft due to the impact of the general elections on new movie releases and the underwhelming performance of Hindi films. In FY24, PVR Inox recorded the lowest quarterly collections of Rs 759 crore in Q4 due to box office volatility.
The company is expecting box office collections to improve post-elections due to a strong slate of Hindi and Hollywood movies.
PVR Inox is also transitioning to a capital-light model by reducing overall capex in FY25 by 25% from Rs 700 crore in FY24. The company is planning to install 120 screens at the gross level. The net screen addition is expected to be 50–60, as it is looking to phase out 60–70 screens.
The company is also adding screens through franchise-owned company-operated (FOCO) model under which the developer will make the entire investment in the cinema property while PVR Inox will generate revenue through management fee.
PVR Inox is looking to monetize real estate assets worth Rs 300–400 crore that it inherited from the Inox merger. The proceeds from the sale of real estate assets will be used to pay off debt.
PVR Inox sees a strong Q4 on big-ticket movie releases
8:20 PM
Javed Farooqui (THE ECONOMIC TIMES; December 1, 2023)
PVR Inox expects a strong fiscal fourth quarter for cinema exhibitors, driven by a strong lineup of movie releases, following a lacklustre third quarter marred by disappointing Hindi film performances and the ICC Men's Cricket World Cup.
"Q4 will be better than Q3, which is very skewed towards Animal, Salaar, and Dunki. In Q4, we will have films coming out every two weeks, and they're nicely spread out," PVR Inox executive director Sanjeev Bijli told ET.
A slew of films is set to be released between January and March, including Hrithik Roshan's Fighter, Vijay Sethupathi's Merry Christmas, and Kareena Kapoor Khan's The Buckingham Murders.
While Q3 failed to meet the company's expectations, it expects an improved performance in December due to Ranbir Kapoor's Animal, Shah Rukh Khan's Dunki, Prabhas' Salaar, and Vickey Kaushal's Sam Bahadur.
"Q3 was somewhat muted as October and November did get impacted by the World Cup. However, I am confident of December since the World Cup is over and there is good buzz around Animal, Dunki, Salaar, and Sam Bahadur," he added.
While the cricket World Cup did impact the footfalls at multiplexes, Bijli said Akshay Kumar's Mission Raniganj and Tiger Shroff's Ganapath were underwhelming at the box office, while Salman Khan's Tiger 3 could mop up only Rs. 250-275 crore against an expectation of Rs. 450-500 crore.
Bijli noted that the screening of World Cup matches and singer Taylor Swift: The Eras Tour did well for the company, with the latter grossing Rs. 6 crore in a month.
While PVR Inox plans to open 130-140 screens in FY24, it will open more luxury-format properties in cities like Mumbai, Pune, and Bengaluru.
Around 5% of its more than 1,700 screens are in luxury formats.
PVR and Inox to merge, will create largest multi-screen player in India
8:26 AM
Pankaj Doval (THE TIMES OF INDIA; March 28, 2022)
New Delhi: PVR and Inox, India’s top two multiplex chains, on Sunday announced a surprise merger to create the country’s largest multi-screen player as they looked to emerge from the pandemic-induced slump and seek to tackle the onslaught from content streaming giants.
Ajay Bijli of PVR and Siddharth Jain of Inox Leisure told TOI that the move would help the merged entity — to be called PVR Inox with over 1,500 screens — better compete with the new-age deep-pocketed rivals, and added that the benefits of the synergy may be passed on to consumers in terms of aggressive ticket prices.
“We will become an entity with much stronger balance sheet. There is a lot to be done, and India is still an under-screened country,” said Bijli, who will be the MD of the merged entity.
-----------------------------------
The merger of PVR and Inox comes in the aftermath of the pandemic, when there’s a need for a consolidation in the multiplex industry and “creating scale to achieve efficiencies critical for long term survival of the business” and to fight OTT platforms, said PVR’s Ajay Bijli, who will be MD of the merged entity.
“There is no doubt that consumer (content viewing) habits got changed (during the pandemic). One can say that there was no choice but to consume a lot of content on small screens and OTT platforms… you have big OTT players with very deep pockets. Only if you become stronger can you do that (compete). The pandemic expedited consolidation and made it more of an important thing to happen,” Bijli added.
Jain, who will be a non-executive director on the board of the merged entity, said that multiplex cinema screens were the “hardest hit” in the past two years and a stronger, merged entity was an effective way to make a comeback while also growing operations. “Someone has to start the investment cycle. What better way to do that than come together and do it… This partnership will bring in enhanced productivity through scale, a deeper reach in newer markets and numerous cost optimisation opportunities.”
The amalgamation is subject to regulatory approvals, which may take six to nine months. With the biggest screen population for any entity (India has around 9,600 theatre screens), the merger will also require approval over competition issues.
As part of the plan, Inox will merge with PVR. After merger, PVR promoters will hold 10. 62% stake while Inox promoters will have 16.66% in the combined entity. Inox shareholders will receive three shares in PVR for 10 shares of Inox.
The new company will have a board strength of 10 members, and both promoter families would have equal representation with two seats each.
-----------------------------------
INOX promoters to hold 16.66%, promoters of PVR to hold 10.62% in combined entity
Gaurav Laghate (THE ECONOMIC TIMES; March 28, 2022)
Mumbai: India’s leading multiplex chain, PVR, will merge with INOX Leisure, the second biggest, to create the country’s largest film exhibition company — with 1,546 screens in 341 properties across 109 cities. The move is a surprise as PVR had reportedly been in advanced talks with the local unit of Mexican company Cinépolis for a possible merger.
Boards of both companies approved the all-stock amalgamation of INOX with PVR on Sunday. After the merger, INOX promoters will hold 16.66% in the merged company, while those of PVR will have 10.62%. The merger is subject to approval by regulators, shareholders and stock exchanges.
It will likely not require Competition Commission of India (CCI) approval, said some analysts, as the threshold of Rs. 1,000 crore won’t be exceeded, given the damage to the sector caused by Covid-19, which closed theatres for months on end. INOX shareholders will get three shares of PVR for every 10 they hold, according to the terms of the deal. On Friday, stocks of PVR and INOX traded at their 52-week highs.
PVR closed at Rs. 1,827.60, up 2.8%, for a market value of ₹11,120 crore on the BSE. INOX ended at Rs. 470.50, up 6.3%, for a market value of Rs. 5,740 crore.
The combined entity will be named PVR INOX, although the current branding of existing screens will continue. New halls will be branded PVR INOX.
“This decisive partnership would bring in enhanced productivity through scale,” said INOX director Siddharth Jain.
PVR chairman and managing director Ajay Bijli said, “The film exhibition sector has been one of the worst impacted sectors on account of the pandemic. Creating scale to achieve efficiencies is critical for the long-term survival of the business and (to) fight the onslaught of digital OTT platforms.”
The deal, if completed, will reshape the country’s film exhibition industry that’s seeing its first consolidation in the past decade and a half. After the merger, the promoters of INOX will become co-promoters in the merged entity along with the existing promoters of PVR. The board of the merged company will be reconstituted with a total strength of 10. Both promoter families will have equal representation with two board seats each.
INOX’s Pavan Kumar Jain will be non-executive chairman, while PVR’s Ajay Bijli will be MD and his brother Sanjeev Kumar Bijli will be executive director of the merged company. Jain will be non-executive, non-independent director in the combined entity.
Cinemas bracing for ‘seat distancing’ after lockdown
8:43 AM
Mohua Das (THE TIMES OF INDIA; May 10, 2020)
Theaters faded to black and movies vanished from the box office as the Coronavirus turned into a massive speed bump for the burgeoning movie exhibition industry of nearly 9,600 screens in the country. After all, cinema houses are about large numbers of people huddled together, just inches away from each other.
“The pandemic has left a massive impact on the cinema exhibition industry. Movie releases are deferred, operations are shut, inflow of cash has entirely stopped. The industry has faced various crises in its history, but what it is going through was not envisaged,” said Alok Tandon, CEO, Inox Leisure, a multiplex chain with screens across 68 cities.
“Movie theatres were one of the first public spaces to shut with no visibility on when we might reopen. Most multiplexes were on a growth trajectory with funds deployed in new multiplexes which have all come to a sudden halt,” rued Sanjeev Bijli, joint managing director, PVR Cinemas.
The Multiplex Association of India (MAI), that represents around 90% of the multiplex industry in India, made an appeal to landlords in March asking for a “complete waiver from payment of rent & common area maintenance dues during the lockdown and recuperating period,” while multiplexes like Inox and PVR have already invoked the force majeure clause to their developers, to tide over the pandemic. In another plea last week, MAI urged studios, producers and content creators to respect “exclusive theatrical window” — holding and releasing their films in theatres, once they open again before opting for broader distribution, such as release on DVD, satellite channels or streaming platforms.
“This temporary relief would ensure that the cinema industry does not die an instant death leaving a significant impact on shopping malls across the country, millions of lost jobs and unwanted litigation,” explained Deepak Asher, president of MAI.
The challenge is trickier for single screen theatres that have been battling depleting revenues for years. Nitin Datar of Cinema Owners & Exhibitors Association of India (COEAI) wrote to the chief minister’s office last week appealing for “waiver on property tax” and “sharing of 70% of staff salary” to prevent retrenchment.
But even as the movie theatre business cracks under the pressure of uncertainty — with revenues of at least Rs 1,500 crore a month plummeting to zero — movie operators believe that the charm of a larger-than-life screen and people’s desire to step out will remain intact.
If history is anything to go by, many a thing has threatened movie theatres in the past — the 1918 Spanish flu, war-time restrictions, invention of television, VCRs, the Internet, and more recently the streaming platforms — yet, like a phoenix, the big screen has always found its way to rise and cope. “Because it’s integral to our social fabric,” pointed out Bijli.
Preparing to re-emerge in a world where physical distancing is crucial to survival, both multiplexes and standalone theatres are devising a chapter that will be different from what was built as a communal experience.
Apart from thermo-guns, sanitiser stations, hygiene kits, paperless transactions, and rigorous disinfecting procedures everyday, multiplexes like Inox and PVR will introduce seat distancing through “cross-allocation” of seats. “The model ensures that there’d be no one seated behind, ahead, or adjacent to the seat assigned to a guest. Online booking will be programmed to allocate seats in that order. Movie shows would be scheduled in a manner to avoid overlap of entry, intermissions and exits and to avoid crowding of lobbies and restrooms,” explained Tandon.
“The menu will be truncated to ‘hero’ items — popcorn, cola and nachos, that can be machine dispensed,” said Bijli, adding that “although it is difficult to contemplate the future, it’s reassuring when we look at China, Sweden, Korea and America that recently re-opened a limited number of theatres. We’re in touch with the Global Cinema Federation and trying to set protocols according to their standards.”
Apart from assuring seat distancing in standalone cinemas, COEAI has also urged the government for an interest-free loan of Rs 50,000 for each owner of ‘touring talkies’ — a dwindling exhibition culture of travelling theatres in rural areas — that now fears total extinction under the weight of the virus.
Subscribe to:
Posts (Atom)