At the trailer launch of the much-anticipated indie film Sabar Bonda (Cactus Pears), actor-producer Rana Daggubati didn’t just support the project—he sparked a necessary conversation about the current state of Indian cinema. Flanked by co-stars and fellow supporters of independent storytelling like Jim Sarbh, Rohan Kanawade, and others, Rana used his platform to highlight the fragmented yet flourishing cinematic landscape of India—and why the definition of success needs to change.
In a refreshingly candid moment, Rana laid out the fundamental differences between Indian and Western film industries: “India is not extremely structured like the West is. We don’t speak one language. It’s not like films happen out of one city only. It’s 11 or 12 industries—four to five major ones, plus or minus. Everyone churns out a different movie and there is so much variety within language. Let’s just say there is Marathi cinema—there is so much variety within Marathi cinema. And to structure all of it, it’s pretty hard. There is no one single method of doing it.”
Rana lamented how alternate and regional cinema, which once held significant space and recognition, has quietly receded over the last two decades: “There is lesser talk of it in the last decade or so. Like, 20–25 years ago, the cinema which was alternate was pretty popular in each language. The recognition was different. Film festivals were much more popular. Government grants were far more accessible. And then filmmakers sort of tapped into it—but it was later dropped.”
In a world now dominated by bite-sized content and weekend box office pressure, he questioned the metrics by which films are judged today: “Post the advent of the social media world, there is extreme short content. There is news and media that cover films in a certain manner only. If the box-office weekend doesn’t hit a certain number, it doesn’t mean any value. I think the metric needs to change in some manner because the habit is always there. A good film has always been a good film. The films that hold personal truth in some way, and have decent aesthetics, will age very beautifully. If you see Sabar Bonda five years later, it will be as relevant as it is now—which is not the case with other cinema.”
He didn’t stop there. Rana called for a collective effort—from producers, audiences, media, and streamers—to bring deeper stories to light: “If there is an exercise from all directions—our job is film production and distribution, that is what we do—whether it’s the media or audience changing habits, I think all of it needs to kind of sink in together. I think it’s better times than the last 5–7 years for sure. There is a lot of support from streamers. And the moment the streamers realize there is more to it, and there is a sizable audience, they will be happy to pick up more films like these.”
Rana’s remarks reflect not just the pulse of the current indie movement, but a vision for where Indian cinema can go—if only the focus shifts from numbers to narratives.
In a country bursting with stories, structure may be elusive, but truth and timeless storytelling remain the heart of cinema. As Rana so powerfully puts it: “A good film has always been a good film.”
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