Hindi
Reviving cinema culture: Why National Cinema Day needs a rethink
National Cinema Day, a day ostensibly designed to promote the cinematic experience, has become a hollow gesture. While the intent is noble—to encourage more people to experience the magic of the big screen—it’s a misguided approach that’s actually hurting the industry.
The concept is simple: offer massive discounts for one day only to entice audiences into theatres. But this artificial boost in attendance numbers is a temporary fix that masks a deeper problem: audiences are losing interest in cinema. The reason isn’t a lack of affordability; it’s a lack of value.
Reducing ticket prices inadvertently reinforces the notion that cinema is a cheap commodity. It’s as if the industry is saying, “We know our product isn’t worth much, so we’ll give it to you at a discount.” This is a self-defeating strategy that undermines the very essence of cinema.
Instead of resorting to gimmicks to artificially inflate attendance numbers, the industry should focus on creating engaging, high-quality content. Movies like Stree 2 demonstrate that good cinema can still draw crowds without the need for massive discounts.
National Cinema Day is a misguided attempt to address the decline of cinema attendance. Instead of relying on short-term gimmicks, the industry must focus on creating high-quality content, investing in the theatrical experience, and embracing innovative data. By doing so, we can ensure that cinema remains a vibrant and essential part of our culture.
The decline of cinema attendance
The decline in cinema attendance is a multifaceted issue with roots in both industry practices and societal shifts. According to some reports, Indian cinemas had been pulling in a tad over 1.4 billion footfalls before the pandemic.
The rise of streaming platforms has offered audiences a convenient and affordable alternative to the traditional theatrical experience. Blockbuster franchises, often prioritised over original content, have led to a sense of cinematic fatigue among audiences. The increasing cost of tickets, concessions, and transportation has also made going to the movies a less appealing option for many.
However, while streaming platforms offer convenience, the theatrical experience remains irreplaceable. The immersive power of the big screen, coupled with the shared experience of watching a film with an audience, creates a unique and unforgettable atmosphere. The film industry must invest in technologies and amenities that enhance the theatrical experience and make it a compelling choice for audiences.
The dangers of discount culture
National Cinema Day, with its promise of heavily discounted tickets, perpetuates a culture of discounting in the film industry. This culture sends a message to audiences that cinema is not worth its full price, eroding the perceived value of the theatrical experience. It also incentivizes studios to prioritise short-term gains over long-term sustainability.
The key to revitalising the film industry lies in a renewed commitment to quality content. Studios should focus on producing original, thought-provoking films that resonate with audiences on an emotional level. Diverse storytelling, featuring voices from different backgrounds and perspectives, can also help to attract a wider audience.
Recent reports acknowledge that the biggest hindrance to cinema-going is the sizable variance in the quality of the movies being created. Uncertainty about the quality of films, and the absence of a strong string of films as a given, prevents people from investing time, energy, and money in going to cinemas. Unless the movie industry tackles this challenge head-on, footfalls in cinemas are unlikely to increase.
Data: The missing piece of the puzzle
The film industry must embrace data analytics to better understand audience preferences and tailor content accordingly. By analysing audience behaviour, demographics, and social media trends, studios can identify emerging trends, identify gaps in the market, and develop films that resonate with specific audiences. Data analytics can also help optimise marketing campaigns, ensuring that films reach the right people at the right time.
National Cinema Day is a fake obituary for cinema. It’s a desperate attempt to keep the lights on in theatres, but it’s not a sustainable solution. The real cure lies in making movies that people actually want to see. It’s time to stop treating cinema as a commodity and start recognizing it as an art form.
The article has been authored by MovieMe founder & CEO Bhavesh Joshi.
Hindi
Remembering Gyan Sahay, the lens behind film, television and advertising
From a puppet rabbit selling poppadums to Hindi cinema, he framed it all.
MUMBAI: There are careers, and then there are canvases. Gyan Sahay, the veteran cinematographer, director, and producer who passed away on 10 March 2026 in Mumbai, had one of the latter. Over several decades in the Indian film and television industry, he turned lenses, lights, and the occasional puppet rabbit into something approaching art.
A graduate of the Film and Television Institute of India (FTII) in Pune, Sahay built his reputation as a director of photography across a career that stretched from the early 1970s all the way to the digital age. He was the kind of craftsman who understood that a well-composed shot is not merely a technical achievement but a quiet act of storytelling.
For most Indians of a certain age, however, Sahay will forever be the man behind the rabbit. His direction of the iconic long-running television commercial for Lijjat Papad, featuring its now-legendary puppet bunny, gave the country one of its most cheerfully persistent advertising images. It was the sort of work that sneaks into the national subconscious and takes up permanent residence.
His big-screen credits as cinematographer include Anokhi Pehchan (1972), Pagli (1974), Pas de Deux (1981), and Hum Farishte Nahin (1988). In 1999, he stepped behind a different kind of camera altogether, making his directorial debut with Sar Ankhon Par, a drama that featured Vikas Bhalla and Shruti Ulfat, with a cameo by Shah Rukh Khan for good measure.
On television, Sahay was particularly prized for his command of multi-camera production setups, a skill that made him a go-to technician for large-scale shows and reality programmes. In an industry that has never been especially patient with complexity, he was the calm hand on the rig.
In later life, Sahay turned teacher. He participated regularly in masterclasses and Digi-Talks, often hosted by organisations such as Bharatiya Chitra Sadhna, sharing hard-won wisdom on cinematography, the comedy of timing in a shot, and the sweeping changes brought by the shift from celluloid to digital. He was also said to have been involved in a project concerning a biographical film on Infosys co-founder N.R. Narayana Murthy.
Tributes from the film industry poured in following the news of his passing, with colleagues remembering him as a senior cameraman who served as a rare bridge between two entirely different eras of Indian cinema. That is, perhaps, the finest thing one can say of any craftsman: he kept up, and he brought others along with him.
