The Silent Struggle of Single-Screens: Why Telangana’s Theatre Dispute Is Just the Tip of the Iceberg
There’s something deeply nostalgic about single-screen cinemas. They’re not just buildings; they’re cultural landmarks, memories, and for many, the first gateway to the magic of movies. But today, these very theatres are on the brink of extinction, and the recent dispute in Telangana is a stark reminder of their silent struggle. Personally, I think this isn’t just a regional issue—it’s a symptom of a much larger crisis in India’s cinematic landscape.
The Heart of the Matter: A Broken Business Model
At the core of Telangana’s theatre dispute is a flawed business model. Single-screen owners are trapped in a fixed-rental system, paying distributors a set fee regardless of a film’s performance. What makes this particularly fascinating is how this model ignores the reality of fluctuating box-office collections and skyrocketing operational costs. It’s like asking a small bookstore to pay the same rent as a mall—unfair and unsustainable.
From my perspective, this isn’t just about money; it’s about power dynamics. National chains, with their percentage-based revenue models, have the upper hand. They negotiate better terms, leaving single-screens to fend for themselves. What many people don’t realize is that this disparity isn’t just financial—it’s existential. If single-screens vanish, we lose more than just theatres; we lose a piece of our cultural heritage.
The Pan-India Paradox: When Bigger Isn’t Always Better
One thing that immediately stands out is the role of pan-India films in this crisis. Stars and filmmakers are chasing national audiences, reducing regional releases and hiking their fees. While this ambition is commendable, it’s squeezing out mid-budget and regional films. If you take a step back and think about it, this trend is reshaping the industry in ways we’re only beginning to understand.
What this really suggests is that the rise of pan-India cinema, while expanding the market, is also homogenizing it. Regional stories, which were once the backbone of Indian cinema, are now struggling for screen space. This raises a deeper question: Are we sacrificing diversity for scale?
The Producers’ Plight: Caught Between Stars and Screens
Producers are in a tight spot. On one hand, they’re dealing with soaring star fees; on the other, they’re grappling with fewer releases from top actors. A detail that I find especially interesting is how this pressure trickles down to theatres. With fewer films and higher costs, producers are less likely to take risks, further limiting the content single-screens can showcase.
In my opinion, this isn’t just a financial crunch—it’s a creative one. When producers play it safe, cinema suffers. The industry thrives on experimentation, but the current climate leaves little room for it.
The Bigger Picture: A Shifting Cinematic Landscape
The Ficci-EY report highlights a worrying trend: single-screens are shutting down while multiplexes multiply. In 2025 alone, 124 single-screens closed, compared to 225 multiplex screens added. This shift isn’t just about infrastructure; it’s about audience behavior. Multiplexes offer convenience and variety, but they lack the charm and accessibility of single-screens, especially in smaller towns.
What makes this particularly concerning is the impact on regional cinema. As multiplexes dominate, regional films are getting shorter theatrical runs, if they get a chance at all. This isn’t just a business issue—it’s a cultural one. Regional cinema is a mirror to our diverse identities, and its decline is a loss for all of us.
Looking Ahead: Can Single-Screens Survive?
The Telangana Exhibitors Association’s proposal for a staggered revenue-sharing model is a step in the right direction. Offering distributors a percentage of collections based on weeks could provide some relief. But is it enough? Personally, I think this is just the beginning of a much-needed conversation.
If you take a step back and think about it, the survival of single-screens requires more than just a new revenue model. It needs policy support, audience awareness, and a shift in industry priorities. We need to ask ourselves: Do we want a cinematic landscape dominated by big-budget blockbusters, or do we want to preserve the diversity that makes Indian cinema unique?
Final Thoughts: A Call to Action
The Telangana theatre dispute is a wake-up call. It’s not just about saving single-screens; it’s about preserving the soul of Indian cinema. From my perspective, this is a moment for all stakeholders—producers, distributors, policymakers, and audiences—to come together. We need to rethink how we value and support regional cinema, how we balance ambition with accessibility, and how we ensure that the magic of movies remains within everyone’s reach.
What this really suggests is that the future of cinema isn’t just about what’s on the screen—it’s about who gets to watch it, and where. And if we don’t act now, we might just lose more than theatres; we might lose a part of ourselves.
