Hindi
Indu Sarkar…….Who cares!
There seems to be some kind of intent among some filmmakers to please the present dispensation at the helm in India. So, we have a film here which concocts a story around 1975/1977 Emergency declared in India by the then prime minister Indira Gandhi to save her government and her position. This is a women-oriented film, following soon in the line-up of recent failures such as Mom, Mattr and the ilk.
Emergency was a black spot on the world’s largest democracy, India. And, it was a serious issue when the best and bravest of nationalist leaders either went into hiding or were whisked off from their homes at midnight and consigned to jails.
And, when all and mighty of the opposition were helter skelter, running to save their own skin, filmmaker, Madhur Bhandarkar, finds this underdog played by Kirti Kulhari, a stuttering marriage unhappy woman, to take on the might of the authority of the emergency imposing powers. Her inspiration being the character of Anupam Kher, leading an identifiable Hindu right wing group who arouses her conscious and edges her on to lead a move to free the country!! One wonders, why Kher and his group expect a woman to take on the might of emergency while they stay in the background!
There are references and scenes dedicated to the excesses of the emergency era like slums demolitions and forced nasbandi (sterilisation) on young and old alike (Though this was limited to the Hindi belt, mainly to Delhi and UP, and bore no all India effect.) besides strong armed tactics and violence by those ruling. Kirti finds her cause in life when she learns that her husband, played by Tota Roy Chowdhury, being a government servant, is responsible for acts of slum demolitions etc.
Indu Sarkar, the title, has the connotations that Indira (Gandhi), referred to as Indu by those close to her including Moraraji Desai, was the Sarkar, the ultimate authority. But, that hardly adds to the film’s USP.
The Emergency, like many other events such as the Sikh massacre, are a thing of the past and of use only for the sling matches by the opposing political parties. Indians forget and forgive fast.
This is 2017 and this film bears no relevance today and is a futile exercise and waste of resources. Films like Nasbandi (IS Johar) and Kissaa Kursee Kaa (Amrit Nahta), released soon after the Emergency, were disasters.
Producers: Bharat Shah, Madhur Bhandarkar.
Director: Madhur Bhandarkar.
Cast: Neil Nitin Mukesh, Supriya Vinod, Anupam Kher, Tota Roy Chowdhury.
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.
