Hindi
Strike ends, Bollywood films to release in multiplexes
MUMBAI: The standoff between producers and multiplexes that had put the Bollywood industry under financial stress has finally ended.
The all-important meeting yesterday saw the film producers and distributors body UPDF make headway with multiplex owners in resolving the dispute over revenue-share, making way for the two-month long strike to end.
will start releasing in all national multiplex chains from 12 June, Mukesh Bhatt tells Indiantelevision.com.
Film producers will have to streamline supply and avoid the clutter of film releases which had halted since 4 April.
“Didn’t I tell you yesterday that we will give you good news tomorrow,” Bhatt further avers. “The strike has ended and the best part is all the plexes have agreed on our terms and have signed the agreement making way for exhibition of films from 12 June.”
Under the terms that have been amicably agreed upon, producers and multiplexes will split revenue equally in the first week of the film‘s release. Producers will get 42.5 per cent for the second week, 37.5 per cent in the third week, and 30 per cent for the fourth week and beyond.
There is also a rider. Multiplex owners had demanded a performance-linked fee structure and they have got their way. “In case a film grosses Rs 175 million or above at the top six multiplex chains in the first week, producers would get an additional 2.5 per cent of revenue share for the first two weeks,” says Reliance Entertainment chairman Amit Khanna, who had been spearheading the truce march on behalf of the multiplexes.
If the film grosses less than Rs 90 million, multiplex owners will get an increase of 2.5 per cent share in revenues.
With regards to distribution, another hot area of dispute, multiplexes have agreed that the release plan in theatres would be decided by the distributors for films that are released above 500 screens. In case of below 500 screens, distributors will supply prints to the extent of 5 per cent to the national chain of multiplexes. The print and freight costs will, however, be absorbed by the multiplexes.
Now that the strike has been called off, the first film that will release in all multiplexes will be Vashu Bhagnani’s Kal Kisne Dekha.
Indiantelevision.com has estimated the multiplex losses to be Rs 2 billion because of the Bollywood strike.
Hindi
New labour codes reshape rules for India’s media & entertainment sector
EY masterclass highlights unified framework, wage redefinition and expanded coverage.
MUMBAI: The new labour codes just rewrote the rulebook for India’s media and entertainment industry because when four old laws become four big codes, even the fine print needs a director’s cut. At the FICCI-EY Media & Entertainment Industry Report launch, EY partners Nirali Goradia and Lakshmi Ranganathan delivered a detailed masterclass on how the labour codes implemented in November 2025 are fundamentally changing the sector. The four consolidated codes Code on Wages, Code on Social Security, Industrial Relations Code, and Occupational Safety, Health and Working Conditions Code have replaced a fragmented set of central and state regulations that existed for decades.
The speakers explained that the new framework brings consistency across all types of establishments and workers. Previously, cine-workers, journalists and other media professionals were governed by separate, narrow laws. Now, definitions have been broadened: “audio-visual worker” now covers everyone involved in film, television, OTT, broadcasting and digital content creation, while “working journalist” extends to digital news platforms.
Key changes include:
- A uniform definition of wages, with at least 50% of total remuneration needing to qualify as wages for calculations like provident fund and gratuity.
- Expanded social security coverage for gig workers, platform workers and project-based freelancers.
- Unified working conditions, safety norms and leave entitlements.
- Simplified compliance through digital filings and a more principle-based approach.
Nirali Goradia emphasised that the codes aim to bring gig workers, freelancers and project-based talent under the social security net, though the exact contribution mechanism for platform workers is still being finalised. She noted that the intent is clear: no worker should be left out of basic protections such as provident fund, ESI, gratuity and safety standards simply because of the nature of their engagement.
Lakshmi Ranganathan highlighted that establishments in the sector must now carefully map their workforce—permanent employees, fixed-term contracts, freelancers and gig workers because different categories attract different obligations. She pointed out that gratuity vesting for journalists remains at three years, but the broader wage definition will impact calculations across the board. Organisations that previously computed contributions on basic salary (often 35-40%) will now need to move to at least 50% of total wages, potentially increasing costs by around 10% on a recurring basis. This change applies retrospectively for gratuity valuation as well, creating immediate balance-sheet implications for many companies.
The panel also discussed how the Occupational Safety, Health and Working Conditions Code has expanded the definition of “manufacturing process” to include digital printing and related activities. This brings more workers under safety and working-condition norms that were previously limited. Additionally, the codes introduce a clearer framework for fixed-term employment contracts, offering organisations flexibility while ensuring such workers receive benefits similar to permanent employees, including gratuity after one year.
One area still evolving is the treatment of platform and gig workers. The Social Security Code recognises this new category, but the exact funding mechanism and contribution structure are awaited. Industry experts expect a dedicated fund where platforms and employers will contribute, from which benefits can be extended to gig workers. Until the schemes are notified, organisations are advised to review their existing contractor and freelancer agreements to assess potential future obligations.
Both partners stressed the need for proactive steps. Companies should:
- Reclassify their workforce based on the new definitions of “employee” and “worker”.
- Review compensation structures to align with the 50 per cent wage threshold.
- Update contracts, especially for project-based and gig engagements.
- Reassess gratuity liabilities and payroll processes.
- Ensure compliance with expanded safety and working-condition requirements.
The speakers noted that while the codes bring much-needed unification and broader coverage, they also demand careful interpretation. The shift from highly prescriptive rules to a more principle-based regime means organisations must build internal frameworks to apply the codes consistently. This is particularly relevant for the media and entertainment sector, where project-based work, freelancers, short-term contracts and gig-style engagements are common.
In an industry that thrives on creativity and agility, the new labour codes are forcing a rewrite of the fine print. What was once a patchwork of rules is now a unified playbook and for media houses, the real plot twist will be how quickly they adapt to keep talent happy, costs manageable and stories flowing. The next few months, as states finalise their rules and schemes are notified, will be critical in determining exactly how this new framework reshapes hiring, compensation and workforce management across the sector.
