The Struggle of Indie Films in India: A Closer Look at Audience Reception
The Dilemma of Celebrating Indie Success
Whenever an Indian artist shines on the international stage, it’s a moment of pride for all of us. A recent example is Anuparna Roy’s remarkable achievement at the Venice Film Festival. However, before we revel in this success, it’s essential to address a concerning trend in our cinematic memory.
Currently, we are excited about a film being promoted by a French distribution company, Celluloid Dreams. Yet, when this film finally hits Indian screens, how many of us will actually take the time to watch it? Unfortunately, I have data that suggests very few will invest their time and money in a critically acclaimed film like this one.
The Box Office Reality
At present, Jugnuma: The Fable, which was awarded Best Film at the 38th Leeds International Film Festival in the UK, is facing challenges in attracting viewers. In cities such as Chandigarh, despite receiving positive reviews, it has only been screened in two theaters, with just one show each. The overall box office performance across India is equally disappointing, with the film earning a mere Rs 0.05 crore on its opening day.
Before the film's release in India, director Raam Reddy expressed that the debate over 'commercial versus independent cinema' is outdated. However, the numbers tell a different story, revealing a consistent pattern of underwhelming responses to celebrated films.
The Gap Between Festival Recognition and Audience Engagement
Last year, we celebrated Payal Kapadia’s All We Imagine as Light for winning a prestigious award at the Cannes International Film Festival, a platform where even being part of the competition is considered a significant achievement.
Typically, there exists a considerable gap between the excitement generated at film festivals and the actual release in Indian cinemas. This delay often leads to a disconnect between the audience and the film, resulting in a lack of recall value after a year. Although All We… was released a few months after its Grand Prix win, it still managed to earn only Rs 80 lakh in India due to limited screenings.
Changing Tastes and the Impact of OTT
With the rise of OTT platforms, it has been suggested that Indian viewers have developed a preference for high-quality content. Yet, whenever an Indian film that has gained international acclaim is released, the audience seems to vanish.
It’s no surprise that festival favorites like Stolen and Kennedy fail to find their way into theaters. What accounts for the lukewarm response to films that are clearly of exceptional quality? Many believe that the festival label implies a slow and tedious viewing experience. I often find myself in debates with friends and family regarding the ratings I give to such films, and I now find myself adding a disclaimer—perhaps this isn’t your style, which I regret saying.
The Disconnect Between Critics and Audiences
There is often a disconnect between critics and the general audience. Critical acclaim rarely translates into box office success. When Manoj Bajpayee, the lead actor in Jugnuma, states that the obsession with box office numbers is detrimental, it resonates with many. His perspective on valuing artistic merit is valid. However, when a celebrated filmmaker from Punjab questions the funding for his next project, it’s a sobering reminder of the ongoing struggles faced by indie filmmakers.
More than ten years after Ritesh Batra’s The Lunchbox grossed Rs 100 crore globally, indie filmmakers continue to face significant challenges. While Payal’s All We… was celebrated as a potential turning point, and its producer Zico Maitra optimistically stated that 'the future is female,' the reality for indie cinema remains uncertain. Some passionate filmmakers persist in their vision and creative choices, seemingly indifferent to box office pressures.