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Multiplexes: the ‘multi-revenue’ debate rages

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MUMBAI: The celebrated terminology ‘multi revenue generator‘ synergises with the new phase of film exhibition that is the multiplex era as well. Volumes have been written about the shift from single screen to multiplexes.


However, the new side of this subject is the umpteen number of avenues through which money is flowing in and “Multiplexes: Multi revenue streams” was another heated discussion on the last day of Ficci Frames 08‘.




Dimple Cine Advertising MD Kamal Karamchandani, Pyramid Saimira MD P.S Saminathan, Inox Leisure Ltd COO Alok Tandon, Chivach Media CEO Soumo Ganguly and Fun Multiplex CEO Ajay Mehra engaged in an series of topics related to multiplexes.


True to the session‘s topic, multiplexes have really proved to be a medium for innumerable advertising and promotional opportunities.


The audience doesn‘t step in alone to enjoy the film but also varied other things available at the multiplex.




Karamchandani points out the different promotional strategies one enjoys at the theatre. Starting from kiosks, stickers behind seats, film and other standees, product displays to leaflet distribution, he believes all this really works for a multiplex.


An interesting example of Reliance Energy came up in the discussion.


While screening a film, the theatre witnessed a blackout for a few minutes and then the screen showed up ‘Reliance Energy.‘ This, Karamchandani felt, was a great promotional activity.


Multiplexes are now smartly using the spaces for off-screen advertising as well.


They stress on the fact that these spaces are priced exorbitantly and should be used to their fullest.


However, Saminathan emphasises on the importance of differentiation in content which is literally missing.




He believes it is more of time differentiation than content, and adds, “There has to be non transparency of funds and taxes.” He also says that it is difficult to judge what works for which theatre.


“A theatre which has poor infrastructure may generate more revenues than the one which is a high quality one,” he states.



“Where do small films go?” was the question thrown by Ganguly.


Recently, he said, 28 out of 30 shows in a multiplex were showing Jodha Akbhar.


In the same breath he says that multiplex is certainly a boon as well, as it would have been extremely difficult to compete with mammoths like Om Shanti Om and Jodha Akbar, if one had to survive on small screens.

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Kridhan Infra enters film production with AI-led feature film

Infra firm debuts AI-powered film marking RSS centenary

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MUMBAI: Kridhan Infra Limited is swapping hard hats for headsets. The infrastructure company has announced its entry into film production and media technology through its subsidiary, Kridhan Mediatech Private Limited, with the nationwide theatrical release of Shatak: Sangh Ke 100 Varsh, an AI-led feature film.

With Shatak, the company is not just stepping into cinema but staking a claim in what it describes as one of the world’s early full-length AI-driven feature films. Artificial Intelligence has been embedded across the creative and production process, from script visualisation and environment creation to modelling and production design.

The film commemorates 100 years of the Rashtriya Swayamsevak Sangh, tracing defining moments, personalities and historical phases that shaped its journey. By combining archival storytelling with algorithm-powered creativity, the project attempts to blend heritage with high technology.

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For Kridhan Mediatech, this is only the opening scene. The subsidiary’s broader ambition spans AI, CGI, virtual production systems and scalable content models for both theatres and digital platforms. The move signals a strategic diversification for Kridhan Infra, traditionally rooted in engineering and construction.

The timing aligns with India’s growing push to become a global AI powerhouse. At the 2026 AI Impact Summit, prime minister Narendra Modi urged innovators to design in India and deliver to the world. Kridhan Mediatech’s initiative positions itself squarely within that narrative, aiming to export technology-enabled storytelling beyond domestic audiences.

India’s media and entertainment industry, valued at over Rs 2.5 lakh crore, alongside a rapidly expanding AI economy projected to cross Rs 1.4 lakh crore in the coming years, offers fertile ground at the intersection of cinema and code.

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“With Shatak, we proudly present one of the world’s first AI-led full-length feature films while marking our strategic entry into film production and media technology through our subsidiary,” the company said in a statement. “Our vision is to combine India’s rich narrative heritage with forward-looking innovation. This is just the beginning of building globally competitive, technology-enabled cinematic experiences.”

From infrastructure to imagination, Kridhan’s latest venture suggests that in today’s India, even storytelling can be engineered.

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