The battle between PVR-Inox and Maddock Films might just change the future of cinema halls — and not for the better.
The Mumbai High Court recently put a stay on the release of Maddock Films’ Bhool Chuk Maaf after the producers breached standard industry practice by skipping the eight-week theatrical window before its planned OTT premiere.
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This eight-week window exists to safeguard cinema exhibitors from the increasing dominance of streaming platforms in content consumption.
PVR-Inox’s counterproposal — a two-week run, reduced revenue share, and a waiver of Virtual Print Fees (VPF) — has left exhibitors outraged.
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The dispute has now exposed deep rifts between producers and theatre exhibitors, where ego clashes could threaten to collapse the traditional exhibition model entirely.
For Amazon Prime Video, a shorter theatrical window means faster access to new releases, enabling it to bypass traditional screens.
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This strategy would pressure producers into bypassing theatres altogether, citing Bhool Chuk Maaf as an example.
Ironically, this move could be self-sabotaging for Maddock Films. The studio previously thrived under the same eight-week window with non-star hits like Stree, Bala, Munjya and Chhaava, which first found success in theatres before transitioning to OTT.
As India’s largest cinema chain, PVR-Inox stands to suffer most. Its revenue and investor confidence are tied to predictable, stable theatrical releases.
If more films opt for shortened windows, audiences will no longer feel urgency to visit theatres. Why pay Rs 150 for a ticket when a Rs 149/month subscription offers the same film within days?
At the heart of this conflict lies the fate of theatrical distribution. What was once a thriving window of opportunity for mid-sized films now hangs in the balance, tested by a growing divide between content creators and exhibitors.
