AICWA Demands Probe and Police Cases After Small Film Pyre Loses 75 Percent Shows to Ramayana
A major row has broken out in the Indian film industry over how cinema halls divide screens between big-budget movies and smaller independent films. The controversy started after reports emerged that a small film titled Pyre suddenly lost 75 percent of its scheduled theatre shows to make room for the massive release Ramayana. The sudden drop in show timings has sparked anger among independent filmmakers and workers, who feel that smaller movies are being pushed out of theatres unfairly.
Taking serious note of the situation, the All Indian Cine Workers Association, commonly known as AICWA, has strongly criticized the move. The association has stepped forward to support the makers of Pyre and has demanded a thorough investigation into how and why these shows were cancelled. According to the film body, such sudden changes hurt the survival of small films that are made with limited money but huge passion and hard work.
In a strong statement, AICWA has called for strict legal action against those responsible for this sudden shift in screening schedules. The association wants police cases, known as First Information Reports or FIRs, to be filed against any cinema exhibitors or film distributors who are found to be at fault. They believe that if theatre owners and distributors are breaking rules or acting under pressure to favor big movies, they must face legal consequences.
The core of the issue lies in the phrase used by the association to describe the struggle of independent cinema: small films, big dreams. For many writers, directors, actors, and crew members, making an independent movie is a journey of years of struggle and personal savings. Unlike giant production houses that have massive marketing budgets and powerful connections, small filmmakers rely heavily on fair access to cinema screens so that ordinary audiences can watch their work.
When a film loses three out of every four shows almost overnight, it loses its chance to reach viewers and recover its cost. Even if a small movie receives good reviews and positive word of mouth from the public, it cannot succeed if there are no tickets available for people to buy. Removing 75 percent of shows effectively cuts off the lifeline of the movie at the box office.
The situation also highlights a long-standing problem in the entertainment business, where giant releases often dominate almost all available screens across the country. Big movies like Ramayana naturally attract huge crowds and bring high ticket sales for theatre owners. Because of this, multiplex chains and single-screen theatres often prefer giving prime time slots and maximum screens to big-budget projects.
However, industry bodies like AICWA argue that business profits should not come at the cost of fairness and equal opportunity. When exhibitors and distributors allegedly drop a smaller film after already committing shows to it, it creates an unfair environment in the film market. Hundreds of daily wage workers, technicians, and creative artists depend on the success of small and medium films to earn their livelihood and get their next job.
If smaller movies are repeatedly pushed aside in this manner, producers will stop investing money in fresh stories and new talent. Over time, this could reduce the variety of films made in the country, leaving audiences with only big commercial spectacles to watch. Protecting small films is therefore seen as essential for keeping the cinema industry healthy, creative, and diverse.
By demanding a formal probe and police action, AICWA wants to send a clear message to theatre owners and distribution companies. The association is insisting that agreements made with small filmmakers must be respected and that any unfair practices must be exposed. As the demand for an investigation grows louder, all eyes are now on the authorities and theatre associations to see how they respond to this clash between small dreams and big box office power.