Hindi
Cinema: Getting the business model, right?
MUMBAI: Mumbai’s cinema moguls gathered at the 9th Edition of The Content Hub Summit 2025, the industry attempted to hit “rewind” on declining traditional media consumption and combat digital fatigue.
Chaired by acclaimed film critic, journalist & author Mayank Shekhar, the panel boasted a stellar cast of industry heavyweights, including Abhishek Pathak, managing director, Panorama Studios; Aashish Singh, producer, Red Chillies Entertainment; Shailesh Kapoor, CEO, Ormax Media; Devendra Deshpande, CEO, Friday Filmworks; and Pragati Deshmukh, head of content, Zee Studios.
Ormax Media’s Shailesh Kapoor, often the industry’s truth-sayer, kicked off with a candid confession: “Nobody knows for sure.” Yet, his numbers paint a clear picture. Despite the seismic shifts, the core metrics total box office, total footfall, and the number of unique theatre-goers (a consistent 15 crore annually) remain stubbornly unchanged since 2013-14.
Kapoor pointed out that the pandemic’s real plot twist was its coincidental overlap with the streaming boom. “If the pandemic had happened in 2015, this wouldn’t even be a discussion,” he quipped. The lockdown fast-tracked the audience’s discernment between “OTT films” and “theatrical films,” a process that would have otherwise taken years. While star power might dim on OTT, it still shines bright in cinemas, and language barriers are slowly, but surely, dissolving. “Fundamentally, nothing really has changed,” Kapoor concluded, suggesting that content choices, rather than audience habits, are the evolving variables.
Devendra Deshpande of Friday Filmworks, a science fiction writer in the realm of film production, firmly believes in leading with the narrative. “You start with the story because you believe in that story,” he asserted, dismissing hindsight analysis in a business where a film’s journey from conception to screen takes at least two years.
The panel then tackled the curious case of remakes. While Abhishek Pathak’s Drishyam 2 was a massive hit despite the Malayalam original being widely available on OTT, Vikram Vedha (a remake of a Tamil hit) stumbled. Pathak, who directed Drishyam 2, revealed his unwavering confidence: “I always had a feeling that it would do a 150 crore number, this film will surprise the audience.” His logic was that audiences are smarter than we give them credit for, and a strong brand, like Drishyam, transcends language and prior viewing. “People come to the theatre, they give us a formula,” he declared, suggesting that the “mystery to the presentation” and local flavour are key ingredients for a successful remake.
Red Chillies Entertainment’s Aashish Singh weighed in on Jawan’s phenomenal success, attributing it to meticulous planning. The film, directed by a renowned South Indian filmmaker, was conceived as a pan-Indian spectacle from the get-go. With Shah Rukh Khan’s unparalleled star power and a clever blend of North and South Indian talent, Jawan struck a chord across all tiers of Indian audiences. “It’s not about North and South, honestly. But, yes, we have to be conscious about our audience and what they like across the board,” Singh elaborated, highlighting the importance of tailoring content for a diverse national palate.
Pragati Deshmukh of Zee Studios echoed the sentiment, emphasising that for studios, the story’s relevance for the next few years, irrespective of language, is paramount. She revealed that Zee Studios is actively seeking out stories that would travel across languages, indicating a strategic shift towards pan-Indian narratives. The success of films like Gadar 2, which evoked sheer emotion across linguistic divides, underscores this trend.
The conversation then shifted to the nitty-gritty of film finance. Shailesh Kapoor noted the rise of re-releases, a desperate measure by exhibitors to fill empty screens as fewer films are being made. He revealed a staggering 60 per cent drop in the number of films releasing per year, from 45 to a mere 33-34. This “crisis of confidence” is pushing studios to greenlight only certain genres, primarily action. Re-releases, he believes, are a temporary fix and will fade once the release calendar becomes busy again.
Pragati Deshmukh offered insights into the studio’s risk-mitigation strategies. Beyond big-budget spectacles, studios are exploring innovative models for smaller films. She cited examples like securing partnerships with brands or even shooting two films simultaneously to offset costs. The perennial strength of sequels and franchises remains a constant in a volatile market.
Lastly, the discussion also touched upon the vexing issue of ticket pricing. While audiences are still willing to visit cinemas, the average ticket price of Rs 99-100 for new releases, making a night out prohibitively expensive for many, remains a significant hurdle. In contrast, re-releases often come at a much more palatable Rs 75-80.
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Hindi
Shekhar Suman opens acting academy in Mumbai
The veteran actor-presenter launches SSFA, promising immersive, mentorship-led training for aspiring actors and storytellers
Mumbai: Forty years in front of the camera, and Shekhar Suman still isn’t done. The actor, host, writer and director, one of Indian entertainment’s most restless polymaths, is now training his sights on the next generation, launching the Shekhar Suman Film Academy (SSFA) in Mumbai on 22nd April 2026. Registrations for the inaugural batch are already open.
SSFA pitches itself squarely against formula-driven acting schools, leading with an intensive three-month programme that Suman says he personally designed and will largely conduct himself. The curriculum blends voice and speech work, emotional access, body awareness and camera technique with the Linklater Voice Method, film language and on-set discipline, and rounds off with a student film, giving trainees their first taste of a real set.
Masterclasses with actors, casting directors and filmmakers sit alongside the core course. The academy is conceived as a platform that will eventually sprawl into screenwriting, direction, cinematography, music production and post-production: a full creative ecosystem rather than a single acting school.
“For me, this academy is not just an institution. It is a very personal way of giving back to the craft that has given me everything,” said Suman. “Over the years, acting has taught me discipline, imagination, resilience, and the importance of truth in performance. Through this academy, I hope to create something that goes beyond training and becomes a true creative journey for every student who walks in.”
Behind the scenes, the academy is backed by GBM Studios. Dharmesh Sangani, founder and visionary, is the driving force, bringing what the academy describes as “a focused approach to creating meaningful opportunities within the industry.” Adhyayan Suman, founder and director and Shekhar’s son, adds a performer’s perspective honed across acting, music and direction. Ekant Babani, partner and chief operating officer, handles strategy and operations.
Entry is deliberately low-barrier. No prior training is needed: applicants sit a basic self-audition test, shifting the focus firmly to potential rather than polish. The academy says it aims to stay accessible while delivering a premium, hands-on experience.
In a country where acting schools multiply almost as fast as OTT platforms, Suman’s personal stamp and his willingness to stand in the room and teach may be the sharpest edge SSFA has. For those ready to test that promise, the curtain is already up. Apply at shekharsumanfilmacademy.com
