The Battle for the Big Screen: Tamil Nadu Theatre Owners Propose Radical Shift to Save the “Exhibition Ecosystem”
The silver screen is at a crossroads. In an era where the boundary between a living room couch and a theater seat has blurred, the Tamil Nadu Theatre Association (TNTA), led by Secretary and Advocate Srither Asp, has issued a comprehensive manifesto aimed at ensuring the survival of the traditional cinema experience. The proposal, a 10-point roadmap, seeks to recalibrate the relationship between exhibitors, producers, and digital giants.
The Eight-Week Lockdown
At the heart of the proposal is the contentious issue of “direct-to-digital” or rapid streaming releases. The TNTA demands a mandatory minimum 8-week window for theatrical exclusivity before any film can transition to an OTT platform. “This is not just about profit; it is about the survival of the cinema exhibition ecosystem,” the document suggests. By extending this window, exhibitors hope to restore the “event” status of movie-going, which has been diluted by viewers waiting a mere few weeks for home releases.
Flexibility and 24/7 Cinema
In a move toward modernization, the association is pushing for flexible show timings. The demand includes permission to run shows from 6:00 AM to 2:00 AM, totaling up to six shows a day. For “Metro Cities,” the proposal goes even further, suggesting that theaters be allowed to operate 24 hours a day based on demand. This flexibility would allow single screens to compete with the lifestyle habits of younger audiences and the convenience of modern scheduling.
Levelling the Financial Playing Field
A significant portion of the demands focuses on the Virtual Print Fee (VPF). The association argues that single-screen theaters are currently at a disadvantage compared to large multiplex chains. They are calling for a reduction in VPF for single screens and a standardized, transparent fee structure across all digital cinema service providers. This move is aimed at “fairness,” ensuring that small-town theater owners aren’t priced out of showing new releases.
Furthermore, for dubbed films, the association is seeking a 50% revenue-sharing model. This shift would make the screening of multilingual content more economically viable for exhibitors who often take a higher risk with non-native language films.
Diversification: From Movies to “Edu-tainement”
Perhaps the most innovative demand is the request to use theater screens for multi-purpose screenings. The TNTA envisions cinemas as community hubs, hosting sports screenings, concerts, video conferences, and educational content (Educam). By diversifying the use of the space, theaters can generate “additional revenue” during off-peak hours, providing a much-needed boost to the state treasury through increased tax collections.
The MSME Lifeline
To combat rising overheads, the association has made a critical plea regarding utility costs. They have requested that electricity tariffs for theaters be classified under the MSME (Micro, Small, and Medium Enterprises) scheme. This reclassification would significantly lower operational costs, treating cinema houses as cultural small businesses rather than purely commercial high-load entities.
Modernization and the “Library Hub”
The TNTA also proposes the creation of a Digital Library Hub for classic and old films. This platform would allow exhibitors to access archived content under standardized terms, enabling “movie on demand” screenings. Coupled with the demand to allow single screens to be converted into multiple smaller screens within the same compound, it is clear that the association is looking toward a “boutique” future for traditional cinema houses.
In conclusion, these demands represent a desperate yet calculated attempt to keep the lights on in the halls that defined Tamil culture for decades. As the industry awaits the government’s response, one thing is certain: “The show must go on—but the rules must change.”