Cultural Revolution 365: In a move that blends cultural pride, political symbolism, and economic revival, the West Bengal government has introduced a sweeping new cinema policy. Effective immediately, all theatres across the state must screen at least one Bengali film daily during the prime-time slot of 3 PM to 9 PM.
Unlike the earlier rule—which required just 120 Bengali shows annually (often pushed into low-traffic morning shows)—the new mandate translates into 365 guaranteed prime-time screenings per year, per screen. For regional cinema long overshadowed by Hindi and South Indian blockbusters, this is nothing short of a cultural revolution.
Minister Aroop Biswas, announcing the move, described it as a reflection of “Bengali Asmita”—an assertion of identity, pride, and cultural autonomy. He stressed that the policy is not against Hindi or international cinema, but a corrective measure to restore balance and give Bengali films a rightful share of visibility.
Immediate Ripple: Dhumketu’s Meteoric Rise
The timing of this rule could not have been better for producers of Dhumketu, a film that was struggling to secure evening slots due to competition from Hindi releases. Within two days of the directive, its show count jumped from 460 to over 550, leading to a significant increase in box-office performance.
Audiences who had earlier complained about Bengali films being relegated to odd morning slots could now watch Dhumketu and other titles like Tobuo Bhalobashi, Dear Maa, Putulnacher Itikatha, Goodbye Mountain, and Bhutopurbo at peak hours. Social media buzz reflected pride, with many posting that “Bengali films are finally being given their due respect.”
Exhibitors also reported that audiences—especially families—are more willing to watch regional films in evening shows, further strengthening the revenue potential.
Cultural Revolution 365: Cinema Owners’ Divided Stand
While many theatre owners have complied enthusiastically, some continue to resist. Navin Chowkhani of Navina Cinema openly stated that the rule breaks the monopoly of Hindi distributors who often forced theatres to prioritise Bollywood blockbusters over local films.
However, others like the owners of New Empire have yet to comply, continuing to run only Hindi shows such as War 2. Industry insiders believe non-compliance may reduce over time, especially as government and federation pressure builds.
Bengali Film Industry Breathes Easier
1. Economic Security for Producers
For decades, Bengali filmmakers faced a distribution bottleneck—investing heavily in films only to be denied prime slots. The guarantee of daily evening screenings provides financial security and incentivises more investments in both commercial and experimental projects.
2. Artistic Freedom
Filmmakers like Srijit Mukherji, Kaushik Ganguly, and Atanu Ghosh have long argued that a lack of visibility discourages risk-taking. With secured slots, filmmakers may experiment with themes beyond formulaic love stories or mythological remakes, thereby diversifying Bengali cinema.
3. Actors and Technicians Gain
Tollywood actors, technicians, and behind-the-scenes workers benefit directly from a more robust industry. More films mean more employment, larger budgets, and more opportunities for fresh talent to enter the industry.
Strategic Coordination: Preventing Festival Chaos
One of the first steps under the new framework was forming the Bengal Cinema Screening Committee. The panel—comprising Minister Aroop Biswas and leading Tollywood representatives—has already intervened to stagger the release of four Puja films this October.
The committee plans to replicate this during Christmas and New Year to avoid “self-cannibalisation” of Bengali releases. This mirrors strategies from Bollywood, where big studios often negotiate release windows to maximise box-office returns.
Additionally, the Federation of Cine Technicians and Workers of Eastern India (FCTWEI) issued a directive that 50% of all prime-time shows must be Bengali, giving the industry an even stronger foothold.
The Politics Behind the Policy
It is impossible to ignore the political undercurrent. Cultural identity has always been a powerful tool in Bengal’s politics—from the literary renaissance to the linguistic movements of the past. By ensuring Bengali films get visibility, the ruling government is positioning itself as a protector of Bengal’s heritage.
Ahead of upcoming elections, this rule is also a strategic counter to accusations of cultural neglect. Analysts argue that the move could consolidate urban Bengali middle-class voters who view cinema as more than entertainment—a reflection of language pride and cultural belonging.
Comparisons With Other States
West Bengal’s move is not isolated. Across India, state governments have occasionally used policy to boost regional cinema:
- Maharashtra: Mandates Marathi films during prime time in multiplexes.
- Tamil Nadu & Andhra Pradesh: Offer subsidies and tax breaks to Tamil and Telugu films.
- Karnataka: Enforces screen quotas for Kannada films in multiplexes.
West Bengal’s decision, however, is unique because it guarantees a daily prime-time show year-round, making it one of the most ambitious regional film protection policies in India.
Challenges Ahead
Despite optimism, challenges remain:
- Audience Reception: Will audiences consistently choose Bengali films over glitzy Bollywood or South Indian blockbusters? Sustaining interest requires better storytelling, not just policy support.
- Exhibitor Pushback: Some multiplex chains may resist, citing contractual obligations with national distributors.
- Quality vs. Quota Debate: Critics argue that mere quotas will not revive the industry unless filmmakers produce content that can compete with mainstream national cinema.
Cultural Identity Meets Market Forces
At its core, the policy is more than about cinema—it is about language preservation, cultural assertion, and economic empowerment. By mandating Bengali films in theatres daily, West Bengal is rewriting the script of cultural economics, blending nostalgia with modern entertainment policy.
If successful, it could trigger similar moves in other states and reposition Kolkata as not just the “City of Joy,” but also the cultural capital of Indian cinema.
- Cultural Broadcasting in India – Research article – background on India’s public service media
- Institute of Audio Visual Culture – Overview (note: specific page may vary depending on archives)
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