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The <keyword id="19897078" type="General" weightage="20" keywordseo="baahubali" source="keywords">Baahubali</keyword> movies were an unexpected phenomenon that brought Indian cinema back to the global stage after a long lull. However, whatever high-budget project the Baahubali star <keyword id="19897073" type="General" weightage="20" keywordseo="Prabhas" source="keywords">Prabhas</keyword> has moved to next, controversy has followed. The latest outrage has come after the first trailer for the <keyword id="19982503" type="General" weightage="20" keywordseo="Nag-Ashwin" source="keywords">Nag Ashwin</keyword> sci-fi action film, <keyword id="19982502" type="General" weightage="100" keywordseo="Kalki-2898-AD" source="keywords">Kalki 2898 AD</keyword>, was released this week. While the film has already received flak from some for not delivering a trailer worthy of its astounding Rs 600 crore budget, the criticism reached an unexpected crescendo after a South Korean artist claimed that the movie blatantly copied some original elements from his artwork from a decade ago. Kalki 2898 AD is a forthcoming epic science fiction film that promises to be one of India's most monumental cinematic endeavours. Headlined by Prabhas as Bhairava, an avatar of the Hindu god Vishnu, and Amitabh Bachchan portraying the ageless Ashwatthama, the film combines mythological themes with futuristic storytelling. It is one of the most expensive productions in Indian cinema. The artist, <keyword id="22038036" type="General" weightage="20" keywordseo="Sung-Choi" source="keywords">Sung Choi</keyword>, has worked as a concept illustrator for Marvel Studios, Disney, Warner Bros, and Netflix, among a host of other production houses. The illustration, called ‘Crash Site of ARK’, which seems to depict some sort of dilapidated structure amidst a desert-like scape, is morphed and added to the first shot of the trailer as it introduces the film’s production house, <keyword id="20291210" type="General" weightage="20" keywordseo="Vyjayanthi-Movies" source="keywords" meta.keywordsubtype="org" meta.entityname="Vyjayanthi Movies" meta.hostid="261" meta.entityid="Vyjayanthi Movies">Vyjayanthi Movies</keyword>. <div type="INSTAGRAMURL" thumbUrl="undefined" caption="Caption not available." user="undefined" cmsId="1718282311231"><url><![CDATA[https://www.instagram.com/sungchoiart/p/C8Ijj9PSfog/]]></url><permalink><![CDATA[https://www.instagram.com/sungchoiart/p/C8Ijj9PSfog/]]></permalink><payload><![CDATA[]]></payload></div> Interestingly enough, this isn’t the first time a Prabhas-starred movie has found itself in hot water for <keyword id="20041867" type="General" weightage="20" keywordseo="plagiarism" source="keywords">plagiarism</keyword> issues. <keyword id="19981694" type="General" weightage="20" keywordseo="Adipurush" source="keywords">Adipurush</keyword>, another epic high-budget project steeped in controversy ever since its release, also faced backlash in 2022. According to animation house Vaanarsena Studios, T-Studios copied the studio’s artwork for the Adipurush movie poster that depicted Lord Ram in an action pose, demanding credit for the same. Two years earlier, a song titled ‘Baby Won’t You Tell Me’ from the Prabhas-starred Saaho garnered controversy for using backgrounds that looked eerily similar to installations made by Bengaluru-based contemporary artist Shilo Shiv Suleman at the Burning Man Art festival in 2017. Many were already disgruntled that Kalki 2898 AD drew excessive inspiration from many well-known franchises such as Dune and Mad Max, to the point that it almost seems like a sequel. After the fresh allegations, many netizens have urged Choi to pursue legal action against the production house. It remains to be seen if and how Vyjayanthi Movies will respond.

First frame of Kalki 2898 AD trailer is stolen art, alleges Korean artist; Third Prabhas movie accused of plagiarism

In a country that has one of the biggest and most popular film industries in the world and churns out more than a 1000 movies every year, it would not have been easy to make <keyword id="6354370" type="UNKNOWN" weightage="100" keywordseo="baahubali">Baahubali</keyword>, which is the costliest film to have been made in India. 
 
The movie, which would be released in two parts, would cost the makers more than Rs 250 crores collectively. The anxiety and excitement for the first part of the movie, which comes out on July 10th, is clearly visible on social media, with Baahubali continuously trending on various social platforms. 
 
The fans waiting for the release of the movie with bated breath have another reason to look forward to the release, which is the launch of the first dialogue promo of the movie. 
 
Launched on YouTube, the trailer is in Telugu, with French subtitles. The movie, however, is being shot in Tamil as well and would be dubbed in Hindi, English, French and Malayalam. 
 
Here is the trailer: 
 
 
 
Going forward, the makers of Baahubali are also claiming to have made the largest poster for the movie. The claim, however, is yet to be authenticated. Here is the poster in question, as shared by the official Twitter handle of the movie. 
<blockquote class="twitter-tweet" lang="en">
	
		Team <a href="https://twitter.com/hashtag/Baahubali?src=hash">#Baahubali</a> is proud to share this image which shows the World Record poster that was unveiled in Kochi yesterday <a href="http://t.co/ASiRmFIbp1">pic.twitter.com/ASiRmFIbp1</a>
	— Baahubali (@BaahubaliMovie) <a href="https://twitter.com/BaahubaliMovie/status/615171147475329024">June 28, 2015</a></blockquote>

Baahubali: Watch the first dialogue trailer of Baahubali

<keyword id="6354370" type="UNKNOWN" weightage="100" keywordseo="baahubali">Baahubali</keyword>, Indian cinema’s most expensive project till date, is hitting the theatres today, and the fans couldn’t be any happier. 
 
Ever since the first official trailer of the movie has released, there has been a buzz in the industry which doesn’t seem to die. 
 
Would you believe if we tell you that the queue outside a ticket counter in Hyderabad stretched for almost a kilometre? Such is the craze for the movie, which can prove to be uplifting for the Indian cinema in more ways than one. 
 The movie has been dubbed in Hindi, English, Tamil, Malayalam and French, and is presented by <keyword id="3778" type="PERSON" weightage="20" keywordseo="Karan-Johar">Karan Johar</keyword>’s Dharma Productions. Starring actors <keyword id="104063" type="ORGANIZATION" weightage="100" keywordseo="Prabhas">Prabhas</keyword>, <keyword id="84792" type="PERSON" weightage="100" keywordseo="Rana-Daggubati">Rana Daggubati</keyword>, <keyword id="32737" type="PERSON" weightage="100" keywordseo="Tamannaah">Tamannaah</keyword>, and <keyword id="68421" type="PERSON" weightage="100" keywordseo="Anushka-Shetty">Anushka Shetty</keyword>, the movie is made for more than Rs 250 crores, which is why it is India's most expensive film. 
 
Before you head to watch the movie this weekend, here are some official teasers, trailers and dialogue promos of the most-awaited movies of 2015. 
 
The beginning teaser of the movie: 
 
 
 
The official trailer of the movie: 
 
 
The dialogue promo: 
 
 
 
And to top it all, here is an exclusive preview, shared by Dharma Productions:

Watch the official trailers of Baahubali before heading for the movie tonight

Just when we thought that we have seen every wonder that south Indian movies are capable of doing, we are proved wrong and that too in less than two minutes. 
 The trailer of <keyword id="6354370" type="UNKNOWN" weightage="100" keywordseo="baahubali">Baahubali</keyword>, which happens to be India’s most expensive movie ever takes us to lush green mountains in the first part, and to an epic battle field in the latter part, leaving us wanting for more. 
 Showing the leading men <keyword id="2880171" type="UNKNOWN" weightage="100" keywordseo="prabhas-verma">Prabhas Verma</keyword> and <keyword id="84792" type="PERSON" weightage="100" keywordseo="Rana-Daggubati">Rana Daggubati</keyword> in the roles of warriors, the trailer has certainly set the expectations high for the movie, the first part of which would be releasing on July 10. 
 The movie is directed by S.S. Rajamouli and produced by K. Raghavendra Rao, Shobu Yarlagadda and <keyword id="2880240" type="PERSON" weightage="80" keywordseo="Prasad-Devineni">Prasad Devineni</keyword>. It has been made in Tamil and Telugu, and would be dubbed in Hindi, English, Malyalam and French. 
 Filmmaker <keyword id="3778" type="PERSON" weightage="100" keywordseo="Karan-Johar">Karan Johar</keyword>, who is the presenter of the Hindi version of the movie, announced the launch of the trailer through his Twitter account. 
<blockquote class="twitter-tweet" lang="en">
	
		Proud to present India's Biggest Motion Picture! Watch the <a href="https://twitter.com/hashtag/BaahubaliTrailer?src=hash">#BaahubaliTrailer</a> <a href="http://t.co/pr2tbC23i0">http://t.co/pr2tbC23i0</a> <a href="https://twitter.com/ssrajamouli">@ssrajamouli</a> <a href="https://twitter.com/DharmaMovies">@dharmamovies</a>
	— Karan Johar (@karanjohar) <a href="https://twitter.com/karanjohar/status/605332808492412930">June 1, 2015</a></blockquote>
He also went on to tweet a selfie with the director of the movie, calling him the genius craftsman. The trailer, that gives a glimpse into the movie that could give Hollywood a run for its money, since then has gone viral and has been viewed more than 7,59,000 times. 
 
Watch the trailer here: 
 
 
 
Image snipped from the trailer

Baahubali, the costliest film of Indian cinema

Mumbai, Filmmaker Prashanth Neel says movies like his "<keyword id="6400922" type="General" weightage="20" keywordseo="kgf" source="Orion">KGF</keyword>" franchise that organically travel across the country do well, a phenomenon he hopes is repeated with his latest directorial "<keyword id="10367331" type="General" weightage="20" keywordseo="salaar" source="Orion">Salaar</keyword>: Part 1 - Ceasefire". Neel and Yash, the lead star of "KGF" series, rose to national prominence after the success of "KGF: Chapter 1", the 2018 Kannada period action film. Its 2022 follow-up, "KGF: Chapter 2" also starred Bollywood actors Raveena Tandon and Sanjay Dutt in key roles. The director, who made his debut with 2014's "Ugramm", said he never plans his films as pan-India projects. "I've written a story and I've executed it. I don't know if it ('Salaar') is going to be a pan-India movie or not. But if it becomes a pan-India movie, then that's an absolute bonus for all of us. Like, 'KGF' happened very organically. "Movies that happen organically always do well. You can't plan to make a pan-India movie, you can't plan and say that I'm going to bring these actors from this industry to make it a pan-India movie. It doesn't work like that," Neel told PTI in an interview here. "Salaar" revolves around two friends Deva and Vardha, played by <keyword id="104063" type="General" weightage="20" keywordseo="prabhas" source="Orion">Prabhas</keyword> and <keyword id="572189" type="General" weightage="50" keywordseo="prithviraj-sukumaran" source="Orion">Prithviraj Sukumaran</keyword>, who end up becoming arch rivals. It will be released on Friday. The 43-year-old director said the journey of the film started over 15 years ago. "It was an idea that was in my head. But it needed a very big budget. So, I made my first film 'Ugramm', then I made 'KGF'. I was occupied with 'KGF' for almost eight years. During COVID-19, I narrated this subject ('Salaar') to Prabhas sir and he agreed to do it," he recalled. The USP of "Salaar" is an emotion between two friends and how this emotion translates to violence forms the core of the story, Neel said. According to the director, equal importance should be given to the story and the characters in big-budget films. "We make a movie to tell a story and we want the right characters, right actors to portray every role. There's a commercial aspect with a star and we get bigger budgets to do what we want. But the criteria is the same that this is the character, it is not the hero who is playing the hero because if we think like that then we have lost the battle," he added. With "Salaar", Neel said his aim was for Prabhas ("Baahubali") to shed his superstar persona. "There was never a pressure to make 'Salaar'. The idea is to make sure that the actor looks like a character. You don't want to show Prabhas as Prabhas, you want to show him as a character and I tried our best to do something like that," he said. While the director acknowledged that Prabhas has had a difficult run at the box office with his recent releases "Adipurush" and "Radhe Shyam", he said a star can always bounce back after a hit film. "Prabhas is a big star. After 'Baahubali', he became the biggest star. People are not going to forget something like that. Stars have always been stars; they can have one flop or 20 flops, they just need to give one hit. Recently, <keyword id="1671" type="General" weightage="50" keywordseo="shah-rukh-khan" source="Orion">Shah Rukh Khan</keyword> showed us that a star is always a star, there's no denying that," Neel added. A box office showdown is expected between "Salaar" and Rajkumar Hirani's "Dunki". The latter, starring Shah Rukh Khan, will hit the screens a day before "Salaar" on Thursday. About the release, Neel said he doesn't meddle in the business aspect of a movie. "I don't get involved in the logistics of what happens after the movie is ready. My brief is I've to make a movie on a given budget and I've to give it to them at a time that they want to release," he said. The filmmaker said he has utmost respect for Hirani and Shah Rukh. "I loved whatever they put out (referring to assets of 'Dunki'). People always want to see the most human thing in any trailer or teaser, so we try to do that. Even in the larger-than-life movies we try to do that." Produced by Hombale Films, "Salaar" also stars Shruti Haasan, Eshwari Rao, Jagapathi Babu and Sriya Reddy.

Stars are always stars, says Salaar director on Prabhas' recent box office run

<ul><li>The portrayal of <keyword id="6370821" type="General" weightage="80" keywordseo="hanuman" source="Orion">Hanuman</keyword>, with a beard, without a moustache and dressed in leather, attracted criticism.</li><li>Director Raut said he is "disheartened" by the reaction to the teaser.</li><li>Another scene recalled for some the American blockbuster sci-fi film series "Planet of the Apes".</li></ul> Four months from release and "Adipurush", a big budget adaptation of the Ramayana, is already neck deep in controversy for multiple reasons - the depiction of <keyword id="42776" type="General" weightage="80" keywordseo="ravana" source="Orion">Ravana</keyword> and Hanuman and also its inferior visual effects. The 1.46-minute teaser of the movie, directed by Om Raut of "Tanhaji: The Unsung Warrior" fame, was launched on Sunday in Ayodhya. And the blowback was immediate. Fronted by "Baahubali" star <keyword id="104063" type="General" weightage="50" keywordseo="prabhas" source="Orion">Prabhas</keyword> who features in the title role as Lord Ram, the multilingual period saga sees <keyword id="333" type="General" weightage="50" keywordseo="saif-ali-khan" source="Orion">Saif Ali Khan</keyword> play the role of a 10-headed demon king called Lankesh. With a beard, fierce eyes and a buzz cut, this Lankesh seems barbarism personified and many called out the filmmakers for the apparent Islamisation of Ravana. The portrayal of Hanuman, with a beard, without a moustache and dressed in leather, also attracted criticism. As hashtags like #BoycottAdipurush and #BanAdipurush gained speed, Madhya Pradesh Home Minister Narottam Mishra on Tuesday warned the makers of the film of legal action if scenes showing Hindu religious figures in the "wrong" way were not removed. "I have seen the teaser of 'Adipurush'. There are objectionable scenes in it," Mishra, who is also the spokesperson of the state government, told reporters in Bhopal. The dresses and look of Hindu deities as seen in the trailer were not acceptable, he said. "Hanuman ji is shown wearing leather, whereas the description (in the scriptures) of the deity's costume is different... These are scenes that hurt religious sentiments. I am writing a letter to Om Raut to remove all such scenes from the film. If not removed, we will consider legal action," Mishra said. Echoing the minister's sentiments, a Twitter user wrote, "Ram and lakshamna wore khadau not leather shoes like the desert civilization people did. Nonsense movie." Director Raut said he is "disheartened" by the reaction to the teaser. "I was disheartened but not surprised because the film is made for a larger medium. You can cut it down to some extent, but can't bring it down to a mobile phone, that's an environment I can't control. "If given a choice, I had never put it on YouTube but that's the need of the hour. We need to put it there so that it reaches a wide audience," Raut told reporters at the media preview of film's 3D trailer on Tuesday. Producer Bhushan Kumar was unavailable for comment despite several attempts by PTI to reach out to him. Many on social media said they were appalled over Saif's appearance as a maniacal Lankesh, saying his look was inspired by Mughal rulers. Some said it bore resemblance to Ranveer Singh's portrayal of Alauddin <keyword id="987836" type="General" weightage="80" keywordseo="khilji" source="Orion">Khilji</keyword> from Sanjay Leela Bhansali's film "Padmaavat", which came under attack for caricaturing Khilji, complete with kohl lined eyes and viciously attack a hunk of meat. "The makers should have done more research on Ravana. Saif Ali Khan's expressions look absolutely pathetic. Ravana was not a psycho. Saif is acting like he is portraying khilji from padmavat. Mythological movies absolutely need better character understanding (sic)," said a Twitter user. "He (Saif) is looking more like Babar or Aurangzeb or Taimur but certainly not Raavan," added another. The VFX, said others, was a huge letdown for a film that reportedly has a budget of ₹ 500 crore, making it one of the most expensive Indian films ever made. A section of social media seemed both amused and disappointed (#disappointed was trending on Twitter) about the quality of its computer-generated imagery. Generally an expensive affair, CGI is used to create fantastical visual effects in films. "Bruh this is Jaani Dushman levels of CGI. #AdipurushTeaser," said a Twitter post drawing comparison with the 2002 supernatural action thriller film which has attained cult status over the years as a cringe watch. Sharing a still from <keyword id="143564" type="General" weightage="50" keywordseo="ramanand-sagar" source="Orion">Ramanand Sagar</keyword>'s epic serial "<keyword id="6373819" type="General" weightage="50" keywordseo="ramayan" source="Orion">Ramayan</keyword>", a tweeple said no big bucks or latest technology could ever level up to the "simplicity" of the classic 1980s Doordarshan show. "No 500 crore budget, No 3d release, Just simplicity. Nothing can ever come close to this #BoycottAdipurush," a tweet read. A specific scene from the teaser where Saif's Lankesh is seen mounted on a bat-like mythical creature with huge flapping wings prompted some people to draw comparisons with "Game of Thrones", the hit American fantasy TV drama famous for its dragons. "Is it just me or do you also notice the pathetic copy of #GameOfThrones that #Adipurush is! The characters are definitely NOT of #Bharat...," said one post. Another scene recalled for some the American blockbuster sci-fi film series "Planet of the Apes". "Copy cat #OmRaut #Adipurush #DisappointingAdipurish," said a user as he put the clips of the promotional materials of the two films. Many shared stills from "Ramayana: The Legend of Prince Rama", the 1993 animated film which was a Japan-India co-production. Directed by Japanese filmmaker <keyword id="15168281" type="General" weightage="50" keywordseo="yugo-sako" source="Orion">Yugo Sako</keyword>, it became a favourite of the 1990s generation kids who watched it several times on TV channels during re-runs. "#Adipurush had the golden chance to present us a film on the subject which is dear to everyone but sadly even with the colossal budget and modern technology it couldn't match even 1% of yugo sako's Ramayana: The Legend of Prince Rama," wrote a Twitter user. This is not the first time Saif has been in trouble for "Adipurush". In an interview to a newspaper in 2020, Saif had said the version of Raavan in "Adipurush" will be "humane". His remarks caused a stir in the not-so-virtual world of social media and the actor issued an apology for his comments, saying it was never his intention to hurt people's sentiments. "I've been made aware that one of my statements during an interview has caused a controversy and hurt people's sentiments. This was never my intention or meant that way. I would like to sincerely apologise to everybody and withdraw my statement," the actor had then said in a statement. SEE ALSO: <a target="_blank" class="c-link c-message_attachment__title_link" href="https://www.businessinsider.in/science/health/news/vivek-murthy-is-the-new-us-representative-on-who-board/articleshow/94655841.cms">Vivek Murthy is the new US representative on WHO board</a> <a target="_blank" class="c-link c-message_attachment__title_link" href="https://www.businessinsider.in/entertainment/15-ott-releases-to-watch-this-festive-season-starring-madhuri-dixit-hasan-minhaj-and-more/articleshow/94640843.cms">15 OTT releases to watch this festive season starring Madhuri Dixit, Hasan Minhaj and more</a> <a target="_blank" class="c-link c-message_attachment__title_link" href="https://www.businessinsider.in/business/auto/news/best-cars-under-200000-to-buy-in-india-this-diwali/articleshow/94639382.cms">Best cars under ₹20,000,00 to buy this festive season</a>

Teaser lands 'Adipurush' in trouble over depiction of deities, demon king and bad CGI

For lovers of cinema, 23rd September was a momentous day. The 17-member Film Federation of India (FFI) jury headed by veteran director and actor Amol Palekar was about to announce India’s official entry for the 2016 <keyword id="6376611" type="ENTERTAINMENT" weightage="80" keywordseo="oscars">Oscars</keyword>. Close to 30 films were in the running. 
 Social media transformed into a world of speculation, with critics and movie-buffs debating the merits and demerits of all the films in contention and predicting which movie would infact get the distinction of proving its mettle and be selected as the <keyword id="1282732" type="UNKNOWN" weightage="80" keywordseo="Foreign-Film-Category">Foreign Film Category</keyword> at the Oscars. It was really a matter of the right pick. 
 The favourites were the usual- Masaan, <keyword id="6355578" type="PERSON" weightage="80" keywordseo="Court">Court</keyword>, Killa, Kaaka Muttai, and surprisingly even Baahubali. (Though, a majority, including me, fervently wished Baahubali wouldn’t make the cut) 
 
Finally, at 4 pm, the verdict was out. 
 The film chosen was the multi-lingual dramedy ‘Court,’ helmed by first time director <keyword id="1254212" type="UNKNOWN" weightage="80" keywordseo="Chaitanya-Tamhane">Chaitanya Tamhane</keyword> and produced by <keyword id="1354966" type="UNKNOWN" weightage="80" keywordseo="Vivek-Gomber">Vivek Gomber</keyword> (who also acted in the movie) 
The unanimous exaltation of ‘Yes, this movie might have a chance’ by movie-buffs, film critics and the general public alike, proved more than anything how deserving of this Court really was. 
 
As Amol Palekar later admitted, the decision to choose Court was unanimous. 
 
 
 
 
And, as India waits until 14 January, 2016 when the Oscar nominees would be out to find out whether or not Court finds a place in the Foreign Film Category, here’s an all you need to know about the film that needs to be watched- 
 
Plot: As the name suggests, Court is centred on a court case against a singer-activist accused of assisting a sewer worker’s suicide. The accused in question also has a reputation of being a thorn in the authorities’ side in the past. Through the case, the film has gives us an insight into the contrasting lives led by the prosecution, defense, judge and finally, the accused. 
 
Critical acclaim: Court released across India on the 17th of April and gained immense critical acclaim, mainly due to its sharp-eyed, satirical screenplay and its painstaking detailing. It recently released in the United States, as well where too critics heaped praise on how the movie lays bare the workings of the Indian bureaucracy, 
Awards: As of now, Court has more than 20 awards to its credit, including Best Feature Film at the 62nd Indian National Film Awards this March, the Lion Of The Future and Best Film in the Orrizonti category at last year's Venice International Film Festival. Court thus also holds the record of being an Indian film with the maximum number of awards. 
 
Reaction: Soon after the news broke, the director-producer duo who were in Japan sent across their statement over Whatsapp describing their happiness. It reads as follows- 
“At every juncture of the film's journey, we have felt that is has given us more than we could ever imagine. Once again, this has come as a genuine surprise to both Vivek and me. Ever since we started making the film, we kept our expectations low. Especially in this case, since these results tend to be so unpredictable, it just felt like a wise thing to not expect too much. Now that it has actually happened, we would like to thanks the jury for their decision and everyone who has supported the film so far." 
 
A place in history: If Court does manage to garner a nomination in the Foreign Films category at the 88th Academy Awards (of which it has a really good chance), it’ll go down in history as the fourth Indian film to have attained that honour, after Mother India (1957), Salaam Bombay! (1988), and Lagaan (2001). 
And, if it does manage to win an Oscar in the Foreign Film Category, it’ll be the first Indian film to do so. 
 
The 88th Academy Awards are slated to take place on 28th February, 2016. 
 
For the moment, feast on the film’s trailer- 
 
 
 
Image credit: Indiatimes

All you need to know about Court, India’s entry for the Oscars

They say there is no business like the <a href="http://www.businessinsider.in/Mid-year-assessment-It-was-a-roller-coaster-ride-for-Bollywood/articleshow/47830513.cms">movie business</a> and indeed every Friday we have at least one new movie tossed at the audience. And by Sunday, we get to know whether the movie will be a hit, a miss or just an average fare. 
	 
	So far, 2015 has been quite an interesting year from Bollywood’s perspective. Why I say so is because on one hand we had magnanimous opus like Baahubali achieving great success and on the other, there were small budget movies such as <a href="http://www.businessinsider.in/Relive-the-90s-with-Dum-Laga-Ke-Haisha/articleshow/46395043.cms">Dum Laga Ke Haisha</a>, NH10 and Badlapur, that managed to swoon the audiences and the critics. 
	 
	Sequels like Tanu Weds Manu Returns managed to outshine their last offering and then we had Piku that conveyed human emotions in a brilliant way and also got the cash register ringing.
<table border="1" cellpadding="0" cellspacing="0">
	<tbody>
		<tr>
			<td>
				Movie Name</td>
			<td>
				Budget</td>
			<td>
				Earning</td>
		</tr>
		<tr>
			<td>
				<a href="https://en.wikipedia.org/wiki/Dum_Laga_Ke_Haisha">Dum Laga Ke Haisa</a></td>
			<td>
				Rs 15 Crore</td>
			<td>
				Rs 100 Crore</td>
		</tr>
		<tr>
			<td>
				<a href="https://en.wikipedia.org/wiki/Badlapur_(film)">Badlapur</a></td>
			<td>
				Rs 25 Crore</td>
			<td>
				Rs 119 Crore</td>
		</tr>
		<tr>
			<td>
				<a href="https://en.wikipedia.org/wiki/NH10">NH10</a></td>
			<td>
				Rs 13 Crore</td>
			<td>
				Rs 32.1 Crore</td>
		</tr>
		<tr>
			<td>
				<a href="https://en.wikipedia.org/wiki/Tanu_Weds_Manu_Returns">Tanu Weds Manu Returns</a></td>
			<td>
				Rs 30 Crore</td>
			<td>
				Rs 252 Crore</td>
		</tr>
		<tr>
			<td>
				<a href="https://en.wikipedia.org/wiki/Piku">Piku</a></td>
			<td>
				Rs 42 Crore</td>
			<td>
				Rs 141 Crore</td>
		</tr>
		<tr>
			<td>
				<a href="https://en.wikipedia.org/wiki/Baahubali:_The_Beginning">Bahubali: The Beginning</a></td>
			<td>
				Rs 120 Crore</td>
			<td>
				Rs 600 Crore</td>
		</tr>
	</tbody>
</table>

	So should we conclude that the era for clichéd, formula-based movies, is coming to an end? 
	 
	Not really as in 2015, we had movies like Hero, Tevar, Roy, etc that banked on the predictable story line to woo the audience and managed to garner mixed acceptance. 
	 
	But, if we see a larger picture, new concepts with small budgets and strong script are doing well. 
	 
	The success of Dum Laga Ke Haisha, Tanu Weds Manu Returns and last year’s Queen hinted that directors and storytellers should venture with newer concepts to engage and entertain the audience. 
	 
	To this trend, Komal Nahata, trade analyst, said, “I would not like to say that there is a trend shift that is happening. From the past three-four years we have seen some small budget movies doing pretty well. The market for such films is also growing. Earlier they used to do well only in certain multiplexes, then it grew to few cities but now in pockets pan-India, they do well.” 
	 
	While it is true that there are quite a few experimental movies that are being screened, but multiple sources in the industry, on conditions of anonymity, told us that about 60-75% of the movies that go on the floor never see light of the day. 
	 
	 
	 
	A lot of these movies are actually finished products but fail to make it to cinema halls as the distributors are unwilling to buy them or the producer has lost confidence in the movie and does not want to spend more money in promoting them. 
	 
	Despite of the fact that some movies do well in global markets, they are not released in India. The movies that have found place in this list include Peddlers, The Coffin Maker, Dekh Indian Circus, etc. 
	 
	Mind you, not all of these shelved movies have lesser known faces as their star cast. The Coffin Maker stars Naseeruddin Shah while Nawazuddin Siddiqui features in Dekh India Circus. 
	 
	Siddiqui said, “It is rather unfortunate that a lot of content-oriented movies in India are still struggling to get funding in the country and there are a few completed projects that are not able to secure a release. Not just Dekh India Circus, there are a few more of my movies that are currently not released and I have started taking more commercial projects since last year with the hope that if I become a little more known face, it will be easier for my directors and producers to get the pending projects released.” 
	 
	And off-beat movies that managed to secure a release, had to face a tough time in the process. 
	 
	For instance, Shonali Bose’s “Margarita With a Straw”, which has Kalki Koechlin as the leading lady, garnered accolades at Toronto International Film Festival and Koechlin also bagged the best actress award at The Tallinn Black Nights Film Festival in 2014. After much delays, the movie finally released to Indian audience on April 17, 2015.
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	Unfortunately, not all the movies are lucky as this one. There are quite a few of these Bollywoods' lost children that fail to get a screen space in the midst of high-brow glitterati. 
	 
	I managed to see the world premiere of one such movie in the very heart of London’s film world. Being a movie enthusiast, I had heard a lot about London’s prestigious Raindance Film Festival and it was quite a coincidence that I managed to see a Bollywood movie listed as an `official selection’. 
	 
	Curiosity got the better of me and I reached just in the nick of the time to see ‘Peter Gaya Kaam Se’ (PGKS) (aka The Goa Run). The super plush Vue Cinema in Piccadilly Circus was almost full and the first theatrical screening for this lost Bollywood baby was a complete entertainment package. 
	 
	John Owens' action packed adventure tells the story of a motorcycle taxi driver from Goa (Rajeev Khandelwal) who falls in love with Mira, a beautiful and beguiling drug smuggler from London (Lekha Washington). This out and out commercial flick was originally produced by UTV Spotboys but got shelved and largely forgotten during Disneys' protracted takeover of the company. 
	 
	Director John Owen, who has worked in India for many years as one of MTV and Channel [V]’s head honchos, had penned and directed this story. The movie was shot extensively in Goa and took about a month to complete. It turns out that, the Raindance founder Elliot Grove took a personal interest in the film. 
	 
	 
	 
	Says Owen, "Raindance loved the film and were determined to host the world premiere, especially as I am the first Brit to direct a Bollywood film. A fact that makes me very proud. So when Disney finally gave permission I flew over to Mumbai, finished the sound work we had pending at my cost, did the subtitles myself and had a high end digital print made. The quality of the screening was just superb.” 
	 
	Raindance is in its 22nd year and has become one of the world’s premiere film festivals and very highly thought of by the industry itself. 
	 
	Owen adds, "We didn’t have any money to promote the screening so it was all word of mouth and the buzz of social media. People came from all over the country, it was amazing." 
	 
	Ironically, on the very same weekend Disney's Khoobsurat was premiering in the UK and I could see a theatre just across the street in London's Leicester Square showing it. 
	 
	When I put this point across to Owen, he chuckled and said, "It's funny because Shashanka Ghosh and I have been friends since our MTV days. I stayed with him when I was over in Mumbai fixing up the film in September and we joked about him being Disney's loved and me being their unloved child.” 
	 
	Given the response this movie managed to get sans any promotion and that too in London, I was curious to know what plans Owen or Disney have for this movie. Owen shared that some high-flying industry folks were amongst the excited audience and they saw real potential for the film in the UK and the US. 
	 
	No wonder, UK distributors are showing interest in the movie. Even in India PGKS is well-liked amongst industry insiders who were given personal screenings by the director. After all, the film does come with some pedigree. Anurag and Abhinav Kashyap were `creative producers' and UTV’s top producer on the job at the time was the visionary Vikas Bahl (who has given movies such as Chiller Party and Queen). So, what happens now to Peter Gaya Kaam Se? 
	 
	Owen picks on a philosophical note and shares, "It's all about love and timing. PGKS came along at the wrong time in the marriage of UTV and Disney. So, it’s the unwanted child. A bit like how Danny Boyle’s Slumdog Millionaire was for Warner Brothers. Warners’ just didn’t like the film so they let Danny go off and find a new home with Fox Searchlight. Fox loved the film, supported Danny, and made Slumdog a massive box office success. The film industry does not work like a science. Sometimes it comes down to personal taste. When I get depressed about the whole thing I think of Danny and Slumdog and get inspired all over again.” 
	 
	While Owen never had the resources or connections to find buyers for PGKS, on its own, he is looking to crowd funding and other ways to get this movie to be released.
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	It is noteworthy, that UTV Spotboys was the pioneer of small budget, content-oriented movies in India. 
	 
	Khosla Ka Ghosla was one of the first movies in this genre that was produced under UTV Motion Pictures. Later between 2008 and 2009, under the UTV Spotboys banner, they released movies such as Dev D, Oye Lucky Lucky Oye, Welcome to Sajjanpur, A Wednesday, Mumbai Meri Jaan and Aamir. All these movies managed to get a fair share of success at the ticket window. 
	 
	 
	 
	Another coincidence worth pointing out in the case of Peter Gaya Kaam Se is that it went on floor almost at the same time as Paan Singh Tomar. 
	 
	The latter, too, was produced by UTV Spotboys and managed to get a release on March 2, 2012, almost four years after it was complete and it managed to be a box office success largely due to word of mouth. 
	 
	The bigger coincidence is that Paan Singh Tomar, too, was premiered at the 2010 British Film Institute London, almost two years before its domestic release. 
	 
	We spoke to Rucha Pathak on why it was such a challenge to make a movie like Paan Singh Tomar. 
	 
	Pathak was the associate producer of Paan Singh Tomar and Sr. Creative Director at UTV (now Disney India) when this film was being made and is now Head of Creative &amp; Development at Fox Star Studios. 
	 
	“The main challenges we faced while trying to make Paan Singh Tomar was that because it was probably the first time a film like this was being made people did not realise what it was going to be like and it was therefore completely against the trend in those days,” she said. 
	 
	Also we could not help ask her if is it really possible to get any small budget movie out there in the market to which she answered, “It is difficult to release small and medium budget films these days but not impossible. I think if one can find the right marketing budget and the right target audience that you want to reach out to, then it’s possible to release a film. It is really critical these days to make films at the right budget and market films at the right budget. Once that is under control then I believe one can get a film out to reach an audience that it is meant for.” 
	 
	While Pathak emphasised on the budgeting bit, Nahata feels, “Exhibition or the release strategy is very detrimental to the business of content driven movies. The moment there is a big movie coming in, they are thrown out. Most such movies need time for the word of mouth to pick up.” 
	 
	
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The distributors today are looking for instant gratification. They would expect the movie to have 80 to 90% occupancy rates for its release Friday itself. If the movie does not show results by Sunday, then on Monday it is thrown out. This was not really the case earlier. I still remember when Maine Pyaar Kiya released, it had just one cinema hall in Mumbai, later when the word of mouth spread, the movie was given more space and it was a such a huge hit,” shares Ami Shah, co-founder and creative director of IntelliAssist (a company that has handled social media mandates for Bollywood movies). 
 
Indeed, distribution is one big challenge for small budget, content-oriented movies in India. However, Director Onir mentions that it is not the only one. Just to give you a perspective, Onir is an Indian film maker, who has churned out movies such as 'I AM, My Brother Nikhil’ and Bas Ek Pal. He had crowd funded his movie I AM, which released in 2010 and also bagged the national award for the same. 
 
Ask him if given a chance would he again crowd fund a movie or give any other director struggling for funds the same suggestion and he replies, “No it is one thing to make a movie and altogether another to get it to the cinema. Marketing a movie, especially a content-oriented one is a hard job.” 
 
I would agree with his point that it is tough nut to market a movie that does not have bankable stars. Like, Filmistaan, the 2014 movie was an endearing tale of wannabe actor, who gets kidnapped by terrorists and held in the home of a Pakistani who deals in pirated Hindi films. The tale captures how both of them bond over movies. 
 
The trailers of the movie looked very bland and I was not sure whether I would want to waste time watching this movie. Fortunately for me, one of my friend dragged me to this movie and I would admit that it was actually one of the best movies of 2014 that I managed to see and yes it did manage to win a national award as well. 
 
The cost of marketing in itself is quite high as well and it is not just important to buy ad space but also to connect right with your target audience. This is perhaps one lesson that the movie Queen managed to do well and of course the word of mouth helped it consolidate its position over a period of time. 
 
Onir also mentions that the government will have to play a greater role to help protect content-driven cinema in India. “The approach that our government takes is that they treat Bollywood as a business and not art. However, it will have to realize that like any art even movies need a bit of support”. In his opinion, there could be plenty of other avenues where movies can be showcased. 
 
Now talking about television, we have 24-hour movie channels that end up playing same movie almost every weekend. Most TV channels pick up movies that have done well on the box office, so that they don’t have to do much in terms of marketing and yet they can have good TRPs on their so-called “World Television Premiere”. It is a possibility that some of these movies that are left biting the dust, some might be ideal for the TV watching audience but so far these gems are not able to get any real support for this medium too. 
 
With the coming of 4G, it is expected that some of these movies might get a fresh lease of hope. There are producers and directors that are looking for alternative channels to monetize their movies via online ads and pay per view models. Currently none of them has been able to come out with a full proof plan and hence some great marvels of Hindi cinema continue to rot in their graves, while the others in the hands of resilient makers are fighting it hard to get to their audiences.

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