International
What’s next for film and theatre: Trends and predictions for the next five years
As the world emerges from the pandemic, both film and theatre stand at a transformative crossroads, driven by rapid technological advancements and a renewed passion for storytelling. The Indian film industry is pushing boundaries with a surge in independent cinema and the dominance of streaming platforms, reaching broader audiences and redefining the cinematic experience. Meanwhile, theatre is experiencing a revival, fueled by a growing enthusiasm for live, communal performances and the rise of cultural festivals. Over the next five years, these art forms will evolve as they navigate the rise of AI in content creation, the survival of traditional cinema halls, and the challenge of maintaining the communal spirit of theatre in an increasingly digital world. Poised to redefine how stories are told and experienced, film and theatre are set to embrace a future where innovation and tradition converge in new and exciting ways.
The renaissance of art festivals
The explosion of art festivals across India signals a profound shift in cultural engagement. With over 50 significant festivals, from the India Art Fair to the Kochi-Muziris Biennale and the Kala Ghoda Art Festival, these gatherings are evolving beyond mere entertainment to become cultural powerhouses. Their surging popularity raises questions: Is this a fleeting trend or indicative of a deeper shift in India’s cultural landscape? Biennales, for instance, have transformed from niche events into cultural phenomena, drawing massive crowds and influencing contemporary exhibition-making. With over 300 biennials worldwide, they’ve become pivotal in shaping artistic perspectives.
In the next five years, we can expect these festivals to diversify further, offering immersive experiences that blend traditional and contemporary art forms. The rise of outdoor exhibitions and open-space venues will cater to post-pandemic anxieties, while digital platforms will extend their reach, making art more accessible than ever before.
Coexistence of long-form and short-form content
While social media and OTT platforms push for bite-sized content, there is a growing appreciation for longer, more immersive storytelling. Theatre and cinema will adapt to this dichotomy, offering both quick, engaging pieces and extended, in-depth narratives. It’s true that most theatre artists do not prefer their work to be watched on small screens, as their plays are meant to be engaged physically. The immersive experience of live theatre, with its immediate audience interaction and spatial dynamics, is challenging to replicate in a digital format. However, the current landscape necessitates a more flexible approach.
Given the realities of our time, it’s crucial to understand that many people do not have access to theatres or come from low-income backgrounds. In such cases, short-form content becomes a boon, reaching people in the remotest regions. This democratisation of art through digital platforms ensures that theatre and cinema can touch lives far beyond traditional venues. We will likely see a resurgence of epic theatre productions and longer cinema formats alongside innovative short-form content designed for digital platforms. This trend will cater to diverse audience preferences, ensuring something for everyone in the evolving performing arts landscape.
Curious case of cinema as a vehicle for soft power
The growing global success of Indian cinema, exemplified by movies like “RRR”, heralds a new era of cultural diplomacy. In fact, the world went crazy over a regional song like “Naatu Naatu” from the movie, which won the Oscar award for Best Original Song, beating out two songs featuring American pop megastars. The 2016 Bollywood film “Dangal” also earned $216.2 million in China, making it one of the country’s top 20 highest-grossing foreign films. The movie’s success in China was unexpected and more than double what it earned in India. This shows that in the coming years, we can expect a surge in films that blend mass appeal with artistic merit, crafted with a global audience in mind. This trend can potentially elevate India’s soft power on the world stage, just like it has been doing for the USA and South Korea, and foster cross-cultural dialogues and collaborations, enriching the global cinematic landscape.
AI is the antihero of art
Contrary to both utopian and dystopian predictions, Artificial Intelligence will emerge as a sophisticated tool in the artist’s kit, not a replacement for human creativity. Over the next five years, we’ll see AI enhance the technical aspects of film and theatre production—from streamlining administrative tasks to assisting with CGI and visual effects. However, its role will remain firmly in the realm of the auxiliary, not the essential.
The true essence of art – the personal touch, the human experience, the authenticity that resonates with audiences – will remain squarely in the domain of human creators. AI might offer shortcuts, but just like physical fitness, these shortcuts bypass the crucial growth that comes from fully engaging in the creative process. The endless rewrites, the gruelling rehearsals, the personal perspectives that shape a director’s vision – these human elements will continue to be the soul of meaningful art. Instead, the most successful artists will be those who leverage AI to handle routine tasks, freeing up more time and energy for the deeply human aspects of creation.
Global fusion and cross-cultural narratives
As the world becomes increasingly interconnected, we’ll witness a rise in cross-cultural collaborations and globally influenced narratives. Filmmakers and theatre artists will draw inspiration from diverse cultural traditions, creating hybrid art forms that transcend national boundaries. This trend will manifest in multilingual productions, a fusion of artistic styles, and stories that resonate with global themes while retaining local flavours. The next five years will likely see Indian cinema and theatre positioning themselves as bridges between cultures, facilitating a rich exchange of ideas and aesthetics on the world stage.
A prime example of this cross-cultural fusion is “Ramayana: The Legend of Prince Rama,” a 1992 anime film co-produced by Japan and India. Directed by Yugo Sako, Koichi Sasaki, and Ram Mohan, with music composed by Vanraj Bhatia, this unique adaptation of the Indian epic Ramayana showcases the potential for blending different artistic traditions. The film, first released at the 24th International Film Festival of India, has since become a cult classic with a huge fan following even now. This successful collaboration between Japanese anime artistry and Indian storytelling serves as a blueprint for future cross-cultural projects in the realm of film and theatre.
As we look ahead, the future of film and theatre appears vibrant and dynamic. The industry is poised to embrace technological advancements, cross-cultural collaborations, and innovative storytelling formats while maintaining the essence of these timeless art forms. The coming years promise a fascinating journey of artistic evolution, blending tradition with innovation and local perspectives with global appeal.
The article has been authored by NCPA’s head of theatre and film Bruce Guthrie.
International
Russia-India cinematic spectacle Persimmon of My Love set for grand Moscow debut
Hindi cinema style musical revives Indo-Soviet cinema ties for today
MUMBAI: A new chapter in cross-border storytelling is set to unfold as Persimmon of My Love gears up for its premiere in Moscow on 1 April 2026, marking the first large-scale cinematic collaboration between Russia and India in decades.
Positioned as a modern nod to the cultural exchange that once brought Indian classics to Soviet audiences, the film blends Hindi cinema flair with Russian storytelling, aiming to rekindle a long-standing cinematic friendship.
Directed by Marius Weisberg, the musical comedy follows two brothers navigating a lively world of music, family and romance. The lead roles are played by Demis Karibidis and Mikhail Galustyan, with Karibidis also contributing as a screenwriter.
Shot entirely in India, the production leans heavily into Hindi cinema style spectacle. Filming took place across Mumbai studios and the cities of Udaipur and Jodhpur, whose architecture was used to create the fictional setting of Khurmada. A crew of over 350 worked on the project, with large-scale sequences featuring up to 1,000 extras.
The film also brings Indian creative talent into the mix. Dance sequences are choreographed by Jay Kumar, while music by Zurab Matua features songs in both Hindi and Russian, adding to its cross-cultural appeal.
Backed by TNT channel, MyWayStudio and the Russian Cinema Fund, the project reflects a broader push to strengthen cultural ties between the two countries.
With its mix of colour, comedy and cross-border collaboration, Persimmon of My Love is not just a film release but a reminder that cinema, much like music, travels well across borders.
