Prime Minister NarendraModi inaugurated the World Audio Visual and Entertainment Summit (WAVES) in Mumbai on Thursday, marking a significant milestone for India's creative industries. Heralded as a first-of-its-kind summit in India, WAVES seeks to position the country as a global powerhouse in the audiovisual and entertainment sectors. Speaking at the event, PM Modi underscored the timeliness of the initiative, declaring, “This is the right time for ‘Create in India, Create for the World.'”
To commemorate the occasion, the Prime Minister also unveiled a set of postage stamps honoring five legendary icons of Indian cinema: Guru Dutt, P. Bhanumathi, Raj Khosla, RitwikGhatak, and SalilChowdhury. These stalwarts represent the rich, diverse legacy of Indian filmmaking, spanning genres, languages, and styles that have left an indelible mark on global cinematic culture.
The scale of WAVES 2025 is impressive. With over 10,000 delegates, 1,000 creators, 300 companies, 350 startups, and representatives from over 90 countries participating, the summit is envisioned as a catalyst for India's creative economy, aiming to establish it as the next global growth engine. Workshops, panels, and networking sessions are focusing on emerging technologies, storytelling innovations, and new business models that could redefine entertainment as we know it.
Yet, even as India celebrates its creative might, a stark reality check came from none other than Shah Rukh Khan. The superstar's remarks at the summit have ignited widespread debate and introspection within the film fraternity and beyond.
A Bombshell from Bollywood's King
Shah Rukh Khan, speaking with characteristic clarity and passion, laid bare what he sees as a “critical contradiction” in India's cinematic ecosystem. His diagnosis? Despite being the world's largest producer of films—churning out around 2,000 films every year across various languages—India's theatrical infrastructure is woefully inadequate.
Khan made a compelling case for drastically expanding cinema access across the country. “We need a lot more theatres, simpler theatres, and cheaper theatres in smaller towns and cities,” he asserted. He highlighted the troubling trend of movie theaters being disproportionately clustered in metropolitan areas, leaving vast swathes of the population underserved.
“Otherwise, it is becoming very expensive and also, our cinemas are mostly concentrated in big towns,” he warned. His concerns echo what many industry experts have been saying quietly for years: while Bollywood and regional cinemas continue to produce films in record numbers, the means of distribution—particularly theatrical screenings—have not kept pace.
Startling Statistics, Stark Realities
The numbers paint a sobering picture. India has just about seven cinema screens per million people. Compare that to China's 30 screens per million, the UK's 68, or the United States' staggering 125. These figures underscore a glaring gap between production and exhibition.
The decline of single-screen theaters is particularly worrying. Once the lifeblood of Indian cinema, these theaters were deeply woven into the social and cultural fabric of towns and villages. Today, fewer than 6,000 single-screen theaters remain, and only around 1,000 continue to function as operational cinemas. Many have either shut down entirely or been converted into shopping malls, wedding halls, or storage spaces.
This decimation of grassroots cinema infrastructure has created a paradox. On one hand, we see billion-rupee blockbusters making headlines and breaking box office records; on the other, the very foundation that allows widespread access to films is crumbling.
The Multiplex Mirage
The rise of multiplexes, while lauded for elevating the urban movie-going experience, has also inadvertently contributed to the problem. These high-end venues—complete with plush seating, gourmet snacks, and premium pricing—are financially out of reach for a significant portion of India's population. The cost of a single movie outing at a multiplex can be prohibitive, especially for families or those living in smaller cities.
Khan's critique of the multiplex-centric model strikes at the heart of this issue. He pointed out that concentrating cinemas in affluent urban pockets limits the reach of Indian cinema, effectively turning film-watching into an elite leisure activity rather than the mass cultural experience it once was.
“This isn't just about industry profits,” Khan emphasized. “It's about democratizing access to our cultural storytelling heritage.” His words resonated with many who believe that cinema's true power lies in its ability to bring people together, transcend barriers, and reflect the diverse realities of society.
Learning from China
Interestingly, Khan also drew parallels with China's cinema model, noting how the country's aggressive push to expand its theater infrastructure has fueled both economic and cultural growth. By increasing cinema density, China has managed to boost footfall, making entertainment more accessible and affordable across regions.
This approach, Khan argued, could be replicated in India with the right mix of policy support, public-private partnerships, and innovative thinking. “We need to make entertainment cheaper and available in every corner of the country,” he said, urging stakeholders to rethink priorities and invest in sustainable cinema infrastructure.
The Bigger Picture
The WAVES summit, with its emphasis on global partnerships and cutting-edge technology, certainly signals a bright future for India's creative industries. However, Khan's candid observations remind us that technological advancements and international acclaim mean little if the domestic audience—India's heart and soul—cannot fully participate in the cinematic experience.
The conversation around accessibility versus luxury is not new but has gained renewed urgency in light of Khan's remarks. Should India focus more on building affordable, no-frills theaters in underserved areas rather than chasing high-end urban multiplex models? Can government incentives revive the dying breed of single-screen cinemas? What role can digital platforms play in bridging the accessibility gap without undermining the communal aspect of film-watching?
The Road Ahead
It is clear that if India is to realize its vision of becoming a global entertainment superpower, the growth must be inclusive. The cinematic ecosystem needs to be robust not just at the level of production but also in distribution and exhibition.
Policymakers, industry leaders, and creators must come together to address these systemic challenges. Perhaps the answer lies in a hybrid model—combining the immersive experience of theaters with the reach of digital platforms, while also investing in affordable infrastructure that brings cinema back to the masses.
The WAVES 2025 summit has undoubtedly set the stage for important conversations and potential breakthroughs. But as Shah Rukh Khan's words remind us, true progress will be measured not just by international accolades or box office numbers, but by how well we ensure that every Indian—whether in a bustling metro or a remote village—can access and enjoy the magic of cinema.
What Do You Think?
Is India's theatrical business truly at risk despite our filmmaking prowess? Should we focus more on accessibility and affordability over luxury experiences? Share your thoughts!
