Movies
PVR opens 3 new multiplexes in Jaipur, Bengaluru and Gurugram
Mumbai: Multiplex operator PVR Cinemas has reached 900 screens in its 25-year journey across 181 properties in 78 cities. PVR has opened three new multiplexes in Jaipur, Bengaluru, and Gurugram, with a total of 19 screens. The opening of these cinemas is in accordance with the expansion strategy of the company to open over 100 screens in the current financial year.
Adding a new city to its national circuit, PVR marks its debut in Jaipur with the launch of its eight-screen multiplex, the largest in Rajasthan, unveiling its fourth property while introducing premium screen formats like 4DX and Luxe for the first time in the state. The property located at the Mall of Jaipur has a seating capacity of 944 audiences with recliners and theatrical solutions including SP4K laser projectors, Dolby Atmos audio, and 3D technology.
Further expanding its footprints across the country, PVR announces the opening of its 13th property in Bengaluru and 17th in the state of Karnataka with a seven-screen multiplex at Bhartiya Mall of Bengaluru at Bhartiya City with a seating capacity of 1343 audiences and premium screen formats, including the fifth 4DX and second P[XL] in Bengaluru.
PVR enhanced its screen portfolio in Gurugram with the launch of its seventh property in the city and its 12th property in Haryana, Elan Town Centre. This is a four-screen multiplex with a seating capacity of 561 audiences with last row recliners, SP4K laser projectors, Dolby 7.1 audio, and 3D technology.
PVR chairman and MD Ajay Bijli said, “It is a moment of great pride for us at PVR to reach the 900-screen milestone, which is a result of the support that we have received from our patrons, partners, developers, and our teams over the past 25 years. With the opening of the three new properties in a single day, we have successfully reached 63 screens in our overall commitment of opening 100 screens by FY 2023. As we prepare ourselves for the year ahead, which we believe is the year of cinema entertainment, we are gearing up to enthral our patrons across the country with an out-of-home entertainment experience like never before.”
PVR added that it pioneered the multiplex revolution in India in 1997 and, over the years, has continued to stay relevant to the evolving preferences of consumers, changing times, and the ever-changing entertainment landscape.
‘’It is indeed a momentous day for us as we reached the magical milestone of 900 screens. PVR benchmarks itself with the best in the world and is constantly exploring for invigorating new experiences that are meaningful to audiences. We are now looking forward to the next milestone of 1,000 screens and are fueled with the passion to provide a more delightful cinematic experience to people across geographies and demographics,” said PVR joint MD Sanjeev Kumar Bijli.
Hindi
GUEST COLUMN: Why film libraries & IPs are the new engines of growth
Unlocking value through catalogue strength and IP synergy
MUMBAI:In a media landscape defined by fragmentation, platform proliferation, and ever-evolving audience behavior, the economics of filmmaking are undergoing a fundamental shift. No longer confined to box office performance, a film’s true value is now measured across an extended lifecycle that spans digital platforms, syndication networks, and global markets. As content consumption becomes increasingly non-linear and algorithm-driven, film libraries and intellectual properties (IPs) are emerging as strategic assets, capable of delivering sustained, long-term returns. For Mohan Gopinath, head – bollywood business at Shemaroo Entertainment Ltd., this transformation signals a decisive move from hit-driven models to portfolio-led value creation. In this piece, Gopinath explores how legacy content, when intelligently repurposed and distributed, can unlock recurring revenue streams, why the interplay between catalogue and original IP is critical, and how media companies can build resilient, future-ready entertainment businesses.
For all these years, we thought that a film is successful if it performs well in theatres. There are opening weekend numbers, box office milestones, and distribution footprints that gave a good picture of how the movie has done commercially and also tell us about its cultural impact. However, there are multiple platforms today, always-on content ecosystem, which has caused a shift. Today, the theatrical performance is not the culmination of a film’s journey but merely the beginning of a much longer and more dynamic lifecycle.
Film libraries today are emerging as high-value, constantly evolving assets that deliver sustained returns well beyond initial release cycles. This becomes a point of great advantage for legacy content owners with diverse catalogues, to shape long-term business outcomes.
According to FICCI-EY, the media and entertainment industry of India achieved a valuation of Rs 2.78 trillion in 2025 which is expected to reach Rs 3.3 trillion by 2028 through a compound annual growth rate of approximately 7 per cent and digital media will bring in more than Rs 1 trillion to become the biggest sector which generates about 36 per cent of overall market revenues.
This shift is the expansion of distribution endpoints. We know how satellite television was once the primary secondary window but today, it coexists with YouTube, OTT platforms, Connected TV, and FAST channels. Each of these platforms caters to distinct audience demographics and consumption behaviors, helping content owners to obtain more value from the same asset across multiple formats.
For instance, films that had great reruns, now find continuous engagement across digital platforms. On YouTube, classic Hindi cinema continues to attract significant viewership, reaching audiences across generations and geographies with remarkable consistency. At Shemaroo Entertainment, this is reflected in our film library shaped over decades as part of a long association with Indian entertainment. From classics such as Amar Akbar Anthony to much-loved entertainers like Jab We Met, Welcome, Dhamaal, Phir Hera Pheri, Dhol, Golmaal, and Bhagam Bhag, many of these titles continue finding new audiences while retaining their place in popular memory. Their enduring appeal reflects how culturally resonant stories can continue creating value over time. Similarly, FAST channels have created curated, always-on environments where catalogue content can continue to thrive through star-led and genre-based programming.
This multi-platform approach has very well transformed films into long-tail IP assets which are capable of generating recurring revenue across advertising, subscription, and syndication models.
The evolution of audience behavior is equally important. Nowadays, it’s more important to find what’s more relative than what’s recent as viewers are more influenced by mood, memories, and algorithmic suggestions than by release schedules. Even if a movie was released decades ago, it can trend alongside a newly released movie, if surfaced in the right context. Thoughtful packaging, whether through festival-based playlists, actor-driven collections, or genre clusters, allows catalogue content to remain dynamic and continuously discoverable. Shemaroo Entertainment has built extensive film libraries over decades and its focus has mostly been on recontextualizing content for the consumption of newer environments. This process doesn’t just include digitization and restoration, but also re-packaging of films as per platforms.
Syndication itself has evolved into a key growth driver. In perspective, when looking at the domestic market, curated content packages continue to find strong demand across broadcast and digital platforms. Meanwhile, in the international market, especially in markets like Middle East, North America and Southeast Asia, the appetite for Indian content is opening up new monetization avenues. Here, the ability to package and position catalogue content effectively becomes as important as the content itself.
Importantly, the need to re-package catalogue content does not diminish the role of new content. In fact, originals and fresh IP are essential to sustaining the long-term value of a film library because they act as discovery engines that bring audiences into the ecosystem, while catalogue content drives depth, retention, and repeat engagement.
This interplay between the “new” and the “known” is what defines a robust content strategy today. While new films generate spikes in consumption, catalogue titles offer familiarity and comfort. These are factors that are increasingly valuable in an era of content abundance and decision fatigue. This is also shaping our strategy, drawing value from both a deep catalogue assets and a growing focus on original IPs to strengthen long-term audience engagement and build more predictable revenue streams.
There is growing recognition that long-term value in entertainment will be shaped not only by how intelligently existing content continues to live, travel and find relevance, but also by how consistently new stories are created to renew that ecosystem. In that sense, film libraries and original IP are not parallel bets, but reinforcing engines of growth. For media companies, the opportunity lies in making these two forces work together, because that is increasingly where more resilient and predictable businesses are being shaped.
Note: The views expressed in this article are solely the author’s and do not necessarily reflect our own.
