As the Indian cinema exhibition landscape faces a stagnation and, in some areas, a decline in the total number of screens, PVR INOX is charting a new course to address this crunch, especially in underserved markets.
India's total screen count, long seen as inadequate for its population size, has plateaued around 9,000 screens according to industry estimates, a fraction compared to markets like China and the US.
In the view of declining screens - the lion's share of the currently available screens is mostly taken by the Hindi movies and it affects the regional movies at large. Recently, National Award-winning actress Manasi Parekh had also spoken about the lesser number of screens for regional movies. She told us, “Regional films are getting more recognition. Regional films have more authenticity and they get more recognition. They have a strong chance of becoming a commercial box office hit. But screens are much less. There should be 250 screens for Gujarati films. That number should reach at least 2000 so more people will be able to watch the film."
We at Moneycontrol caught up exclusively with Sanjeev Kumar Bijli, Executive Director of PVR INOX Limited, about it and he laid out a clear-eyed vision that merges business foresight with creative inclusivity.
"Cinema is deeply woven into India’s cultural fabric, it’s not just entertainment, it’s a shared experience that brings people together,” Sanjeev Kumar Bijli told MoneyControl.
In the exclusive interview, Bilji spoke about PVR INOX’s aggressive approach.
Despite an estimated 9,600 - 9,800 operational screens across the country, a number that has barely moved in the last few years, Bijli says he sees an untapped opportunity, which is especially outside the urban centres.
"While the total number of cinema screens in the country may be stagnating, we at PVR INOX see significant untapped potential, especially in Tier-2, Tier-3, and Tier-4 cities. We have plans to add nearly 200 new screens over the next two years, with a sharp focus on emerging markets," he told Moneycontrol.
PVR Inox launched their multiplexes in Jabalpur and Raipur recently.
"We’ve recently opened new cinemas in Raipur and Jabalpur, and are now expanding into locations like Gangtok, Dibrugarh, Agra, Siliguri, Ranipet, and Kumbakonam among others," he added.
Bilji says the aim is to make cinema halls reach the 'farthest corners of the country.'
“Our aim is to reach even the farthest corners of the country, where the appetite for a quality moviegoing experience is strong, but access has been limited. We believe the big screen still holds unique magic, and we’re committed to bringing that magic closer to more people across India," he further added.
Regional Films: From Margins to Mainstream?
Despite India's rich regional film output, Hindi movies continue to dominate multiplex schedules, particularly during high-traffic weekends.
Addressing this trend, Bijli explains the rationale: "Hindi films do tend to dominate prime slots, largely because of their wider pan-India appeal and the scale at which they are marketed and released. That said, our programming decisions are increasingly driven by demand, data, and content strength rather than language alone. We have seen regional films hold their own even during crowded weekends, and we have made room for them when the content connects. Strong regional titles, especially from Tamil, Telugu, and Malayalam industries, often perform exceptionally well beyond their home states.”
In the past Telugu and Tamil movies have ruled the box office, especially films like Pushpa 2: The Rule, Kalki 2898 AD which had big names like Allu Arjun and Prabhas. The films were blockbusters even in the Hindi belt.
On screen, the south is thriving. Tamil, Telugu, Malayalam, and Kannada industries together now represent 60% of India’s box office outpacing Hindi’s 40% share. Hits like Manjummel Boys (Malayalam) and Pushpa 2 (Telugu) show how regionals are stacking up. South Indian films are noted to have sizzled with a higher share at the box office in FY25, while Hindi and Hollywood lagged.
Yet despite spectacular earnings, regionals are starved for screens, which is a mismatch between audience appetite and exhibitor allocation.
Bijli says there is a clear, evolving strategy to ensure regional content is not sidelined. Rather than seeing OTT as a threat, Bijli says he sees it as a cue to diversify theatrical offerings.
"At PVR INOX, we firmly believe that content is king. Language, geography, or scale no longer limit a film’s potential, great storytelling travels. The remarkable success of Tamil, Telugu, and Malayalam films across non-native markets proves that audiences today are driven by quality and authenticity,” he notes.
“We are fully committed to giving regional cinema a consistent presence across our nationwide circuit. Whether it’s a blockbuster from the South or a rooted story from the East, we ensure that strong content gets the platform it deserves, even in traditionally non-native markets. As an exhibitor, our job is to champion compelling stories and bring them to audiences wherever they are.”
The single screen challenge
One of the biggest threats to regional and mid-budget Hindi cinema is the decline of single-screen theatres, which have historically been their distribution backbone.
“Single-screen theatres have been the backbone of Indian cinema for decades, especially for regional and mid-budget Hindi films. But with changing viewer expectations and rising costs, their long-term viability is under pressure. While their decline does affect content reach in some pockets, we see it as an opportunity to reimagine access. At PVR INOX, we're expanding into Tier 2 and Tier 3 cities with smart, compact multiplex formats that retain local flavour while offering a modern viewing experience. This helps us continue supporting diverse cinema and ensures quality storytelling reaches the audiences it deserves," explains Bijli.
Alternate content and hybrid programming
The rise of OTT platforms and the increasing costs associated with theatrical releases have forced exhibitors to rethink programming.
Bijli agrees and says besides the regular screening of new releases, they are also curating special shows, organising movie festivals for the audience.
“Absolutely. The industry is evolving, and so are we. At PVR INOX, we are actively exploring alternate content strategies to complement traditional theatrical releases and make the most of our screen infrastructure. This includes a strong focus on live sports screenings, global concerts, anime, regional cinema, and carefully curated international films," he said.
Initiatives like ‘Timeless Classics’ and film festivals are helping to widen the cinematic palette.
“Our initiatives like Timeless Classics and dedicated film festivals have allowed us to reintroduce iconic titles to new audiences, while also supporting diverse content that may not always follow the mainstream release model. We see this as a way to not just optimise screen usage but to enrich the cinematic ecosystem, offering a wider and more engaging palette of experiences to our audience," he adds.
Striking the Balance: Commerce and Creativity
On the critical question of how screen space is shared, especially when regional films outperform in their markets, Bijli said they maintain a balanced approach which is rooted in audience intelligence.
“Balancing commercial viability with creative diversity is central to our programming philosophy at PVR INOX. While occupancy and box office potential remain important, we also recognise the value of distinct voices and diverse storytelling. We track audience sentiment, pre-release buzz, and past performance data to make informed decisions. If a film shows strong promise, we allocate screens accordingly, regardless of language. Our aim is to serve a wide spectrum of audiences while ensuring that our screens reflect the richness and variety of Indian cinema today," he added.
With a roadmap for 200 new screens and a deliberate pivot towards regional and Tier-2/3/4 markets, PVR INOX is doubling down on the belief that “the big screen still holds unique magic.”
As single-screens dwindle and OTT rises, the company’s strategy is to blend commercial acumen with a commitment to cinematic diversity — giving Indian audiences, wherever they may be, more reasons to return to the theatres.
With rising operational costs, changing viewing habits, and regional cinema breaking new ground, India's exhibition business is at a crossroads. Biji says: "We believe the big screen still holds unique magic, and we’re committed to bringing that magic closer to more people across India."
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