At a time when box office performance has become increasingly hard to predict, the battle over pre-theatrical releases in the Hindi film industry has intensified, as major distributors use unfair tactics to limit smaller rivals from securing enough shows in single-screen theatres and multiplexes, trade analysts, producers and independent distributors told ET.
In recent months, reports of tussles over screen and show allocations have surfaced among distributors of major releases such as Coolie and War 2; Kantara: Chapter 1 and Sunny Sanskari Ki Tulsi Kumari; and Thamma and Ek Deewane Ki Deewaniyat.
“Sharing of screens and shows on the release day between distributors of competing films has been a long-standing issue. However, of late, it has become too aggressive and ruthless. Today, big and established distributors make almost every possible effort to deprive relatively smaller distributors of competing films from getting a fair number of shows and screens,” said Rajesh R Nair, producer of Hindi films such as Kaminey and Adipurush.
One of the unfair tactics major distributors have reportedly used is threatening single-screen owners and key multiplexes to withhold their films, both current and upcoming, if they allocate shows to competing titles backed by smaller distributors.
“In recent months, industry insiders have shared that big distributors have been threatening single-screen theatre owners and multiplexes that they would not supply them current and future inventory of films if they allocate shows to distributors of competing films,” said film distributor and trade analyst Shaaminder Malik.
Big distributors, with their strong reputations and deep pockets, have the advantage of backing a steady pipeline of theatre-worthy films. These strengths give them an edge over mid- and small-sized distributors when negotiating the number of screens and shows with single-screen owners and multiplexes.
Industry estimates show India has more than 9,900 screens, 55-57% of which are single screens.
“Big distributors have been even stipulating the number of shows their films must get on the release date to theatre owners. All this is at the expense of competing films of relatively smaller distributors,” said Malik.
Industry observers said such tactics by major distributors reflect growing nervousness about how their films will be received.
“Each story is different and appeals to a different audience, so in a sense it’s not a competition. Unjust tactics by big distributors to thwart relatively smaller distributors of competing films from getting sufficient screens and shows on the release day reflects their lack of confidence in the films they are backing,” said Bibhabari Rath Assudani, founder, Motion Mind Ventures, a company that helps filmmakers in critical stages of film-making such as financing and distribution.
Experts, however, pointed out that such tactics offer no long-term advantage, as exhibitors typically adjust show schedules after the opening weekend in favour of films that draw stronger audience interest.
“Ultimately, these tactics of big distributors are short-term strategies. After the opening weekend, only the film which has received high audience preference wins irrespective of the fact whether it is backed by a big or small distributor. Exhibitors promptly change the programming of shows in favour of films preferred by audiences given the capital-intensive nature of the business,” explained producer Rajesh R Nair.
Agreeing with Nair, Suniel Wadhwa, co-founder & Director, Karmic Films shared, “Multiplexes are far more data-driven now. By Sunday of an opening weekend of releases, show allocations automatically tilt toward the film that holds occupancy and momentum. In that sense, market correction plays a critical role in which film will get more shows after the opening weekend of releases.”
In recent months, reports of tussles over screen and show allocations have surfaced among distributors of major releases such as Coolie and War 2; Kantara: Chapter 1 and Sunny Sanskari Ki Tulsi Kumari; and Thamma and Ek Deewane Ki Deewaniyat.
“Sharing of screens and shows on the release day between distributors of competing films has been a long-standing issue. However, of late, it has become too aggressive and ruthless. Today, big and established distributors make almost every possible effort to deprive relatively smaller distributors of competing films from getting a fair number of shows and screens,” said Rajesh R Nair, producer of Hindi films such as Kaminey and Adipurush.
One of the unfair tactics major distributors have reportedly used is threatening single-screen owners and key multiplexes to withhold their films, both current and upcoming, if they allocate shows to competing titles backed by smaller distributors.
“In recent months, industry insiders have shared that big distributors have been threatening single-screen theatre owners and multiplexes that they would not supply them current and future inventory of films if they allocate shows to distributors of competing films,” said film distributor and trade analyst Shaaminder Malik.
Big distributors, with their strong reputations and deep pockets, have the advantage of backing a steady pipeline of theatre-worthy films. These strengths give them an edge over mid- and small-sized distributors when negotiating the number of screens and shows with single-screen owners and multiplexes.
Industry estimates show India has more than 9,900 screens, 55-57% of which are single screens.
“Big distributors have been even stipulating the number of shows their films must get on the release date to theatre owners. All this is at the expense of competing films of relatively smaller distributors,” said Malik.
Industry observers said such tactics by major distributors reflect growing nervousness about how their films will be received.
“Each story is different and appeals to a different audience, so in a sense it’s not a competition. Unjust tactics by big distributors to thwart relatively smaller distributors of competing films from getting sufficient screens and shows on the release day reflects their lack of confidence in the films they are backing,” said Bibhabari Rath Assudani, founder, Motion Mind Ventures, a company that helps filmmakers in critical stages of film-making such as financing and distribution.
Experts, however, pointed out that such tactics offer no long-term advantage, as exhibitors typically adjust show schedules after the opening weekend in favour of films that draw stronger audience interest.
“Ultimately, these tactics of big distributors are short-term strategies. After the opening weekend, only the film which has received high audience preference wins irrespective of the fact whether it is backed by a big or small distributor. Exhibitors promptly change the programming of shows in favour of films preferred by audiences given the capital-intensive nature of the business,” explained producer Rajesh R Nair.
Agreeing with Nair, Suniel Wadhwa, co-founder & Director, Karmic Films shared, “Multiplexes are far more data-driven now. By Sunday of an opening weekend of releases, show allocations automatically tilt toward the film that holds occupancy and momentum. In that sense, market correction plays a critical role in which film will get more shows after the opening weekend of releases.”
