Hindi
Tax concessions would have boosted ‘Attack On Ghazi’
The past week saw a variety of new releases. `The Attack On Ghazi’, was a rare war film for the Indian audiences and an underwater film about war between an Indian and Pakistani submarine, Ghazi. The film, based on the 1971 war, was painstakingly made.
The other film, `Irada’ — film’s title did not reveal much about the product — was on an ecological problem faced by the State of Punjab as some vested interests involved in reverse boring draining water and causing ground water to turn poisonous for farm lands as well as for drinking purposes.
The third was the usual run of the mill romantic comedy about a couple on the run.
Though ‘The Attack On Ghazi’ emerged as the best of the three releases at the box office, it was not enough as the film registered just over Rs. 1 crore or Rs 10 million on its opening day. The film deserved much better and the initiative to attract more footfalls should have rested with multiplexes, which could consider reducing the admission rates for this kind of film that is made with sincere intentions.
The film narrates a chapter from Indian history, not very far long, though. If multiplexes increase admission rates at will with big star cast films, reducing the rates for a film like `The Attack On Ghazi’ is the least they can do to promote honest cinema.
The film deserved entertainment exemption but many States did not do so under election’s model code of conduct and the film stayed deprived of this advantage. The film showed a decent rise on Saturday in collections doing better on Sunday to end its opening weekend with Rs. 6.6 crore or Rs. 66 million (excluding Telugu and Tamil versions).
`Irada’, a film with a message on environment, takes the thriller route to present and make interesting the issue of how ecology of the bread basket of India, Punjab, was compromised. The problem with the thriller part, that is the investigations, is that you just witness conclusions and not told how they were arrived at. Also, if the film really wanted to take the message across the States, the use of heavy Punjabi language could have been avoided.
The opening day collections as well as the weekend remained very poor. The film collected approximately Rs. 60 lakh or Rs. 60, 00000 for its opening weekend.
`Running Shaadi’, a routine love story about a couple in love on the run, fails to convince on counts of comedy as well as romance. Launched a couple of years back, the film did take its own time hitting the screens. Another drawback is that the film is almost entirely in Punjabi language. To what purpose one can’t fathom?
The film is poor all over from one day one. The film fell far short of even Rs. 1 crore or Rs 10 million mark and collected Rs. 70 lakh or Rs. 70, 00000 for its first weekend.
`Jolly LLB 2’ that had a tepid opening response picked up on Saturday and Sunday. Though the film dropped on Monday, it had a healthy Tuesday, thanks to Valentine’s Day. Being a solo release in the comedy genre, it maintained Rs. 10 crore or Rs. 100 million per day average to end its first week with Rs. 72. 1 crore or Rs. 721 million. It will get some benefit in its second week in the absence of any strong film releases.
`Raees’ added Rs. 2.1 crore or Rs 21 million for its third week, taking its three-week tally to Rs. 130.4 crore or Rs. 134 million.
`Kaabil’ collected Rs. 3.8 crore or Rs. 38 million in its third week taking its three week total to Rs. 92.2 crore (Rs. 922 million).
`Dangal’ comes at the end of its glorious run. The film added about Rs. 50 lakh (Rs. 50, 00000) in its eighth week, taking its eight-week total to Rs. 387.9 crore or Rs. 3879 million.
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.
