Writer BVS Ravi has sparked a serious conversation about the current state of Telugu cinema with his blunt remarks in a recent interview. Without naming specific films, he pointed out that if a film like Dhurandhar were made in Tollywood, it would likely end up with an inflated budget of Rs. 500 crores but deliver a subpar product. His comment reflects a growing concern that the industry is prioritizing scale over substance.
He argued that filmmakers are focusing excessively on grandeur, elevations, and star driven moments while neglecting strong storytelling. Many big budget pan India films take years to complete but fail to sustain audience interest beyond the opening weekend. In some cases, despite poor reception, makers still tease sequels, leaving producers to deal with heavy losses.
In contrast, he highlighted how Dhurandhar was reportedly made within two years on a controlled budget and released efficiently, managing to generate massive box office returns. The key difference, according to him, lies in execution and clarity of vision rather than just scale.
Beyond this, the criticism extends to a broader decline in writing quality. The industry has largely moved away from crafting relatable, engaging characters and has especially lost its grip on comedy, a genre that once formed the backbone of Telugu cinema. This shift has made older films more rewatchable compared to many recent releases.
There is also growing discomfort with the current ecosystem. OTT platforms are filled with extreme or niche content, while theatrical films often feel like half-finished spectacles. Industry discourse appears increasingly driven by box office numbers rather than artistic merit. Aditya Dhar in Dhurandhar cleverly used old songs to elevate the proceeding in the screenplay which worked like magic. But that doesn’t always mean this trick works but what it means is old songs were much better in quality than today’s songs. Music trends suggest audiences still crave melody driven compositions, but filmmakers rarely cater to that demand.
The transition toward “content driven cinema” has started, but it remains inconsistent and limited to a few filmmakers. Competing not just locally but globally, Telugu cinema faces increasing pressure to evolve. With theatre footfalls reportedly declining, the coming years could be challenging.
However, this phase may also act as a reset. If the industry adapts and refocuses on quality writing and meaningful storytelling, it could eventually emerge stronger on a global scale.
