Actor, writer and director Kavin Dave has shared his candid thoughts on the changing landscape of Indian cinema, pointing out that mainstream filmmaking has become increasingly dependent on tried-and-tested formulas. While audiences today are more informed, discerning and open to fresh storytelling, he believes the industry is not consistently taking the creative risks needed to match their expectations. In his view, regional cinema continues to demonstrate the courage to experiment, while big-budget mainstream productions often prefer to stay within a familiar comfort zone.
During a conversation about whether Indian cinema has evolved enough to deliver content that matches the intelligence of today's audiences, Kavin highlighted the country's long history of innovative storytelling. He said, “Historically, our cinema featured innovative storytelling; there was even a parallel movement of 'art-house' or 'parallel' cinema. India has never lacked stories—look at our regional cinema, for instance; they produce such beautiful narratives. Why are we talking so much about Malayalam, Marathi, Gujarati, or Bengali films today? They are doing their own thing.”
Explaining why he feels mainstream cinema has become less experimental, Kavin pointed towards the financial pressures surrounding big productions. He believes that when enormous amounts of money are involved, filmmakers and production houses often become cautious and depend heavily on data from previous successes. Elaborating on this trend, he said, “In mainstream cinema, however, because so much big money is at stake, there’s a tendency to follow a specific formula—relying on data that suggests what has worked in the past, and then deciding, 'Let’s just keep making more of that.' Because of this, I feel that experimentation in mainstream cinema has, to some extent, declined—though I wouldn't say it has stopped entirely. There’s a clear reluctance to take risks.”
Kavin also recalled a story from his childhood that shaped his understanding of creative risk-taking. He spoke about his father telling him how filmmaker Raj Kapoor invested everything he had in the making of Bobby. For Kavin, that example represents a time when filmmakers were willing to put everything on the line for a creative vision. Comparing that approach with the current industry environment, he said, “When I was younger, my father used to tell me about the making of the film Bobby—how Raj Kapoor invested everything he had into it; it was truly a 'do-or-die' situation. We used to hear stories like that growing up, but today, you rarely hear about a production house facing a 'do-or-die' scenario—where the failure of a single film could mean the end of the entire studio. So, in a way, I felt that—regarding taking risks—we are operating entirely within a 'safe zone.' Yes. And we’re just following the data—assuming that because something worked before, it will work again. Meanwhile, in regional content, people are still taking risks. They are coming up with.....beautiful stories.”
Kavin Dave's observations carry weight given his experience across Hindi and Gujarati entertainment. Born in Mumbai on November 12, 1984, he began his acting journey as a child artist, appearing in television shows such as Filmy Chakkar, Junoon and Jai Hanuman. He later made his film debut with Mumbai Meri Jaan in 2008 and went on to feature in projects including My Name Is Khan, I Hate Luv Storys, Shirin Farhad Ki Toh Nikal Padi and Kick. He has also been an important presence in Gujarati cinema through films such as Bey Yaar, Gandhi Ni Golmaal, Gujarat 11 and Vaahlam Jaao Ne. His portrayal of investor Rakesh Jhunjhunwala in the acclaimed series Scam 1992 brought him further recognition. His more recent screen credits include Maja Ma, The Freelancer, Dhoom Dhaam, Andhera, Mrs. Deshpande and Ek Din. Alongside acting, he has explored writing and direction through projects such as Bumboo, Ruslaan and Luck Shots.
Ultimately, Kavin's comments raise an important question about the future of Indian filmmaking: should success be measured only by familiar box-office formulas, or should the industry also make room for stories that challenge expectations? His appreciation for Malayalam, Marathi, Gujarati and Bengali cinema reflects the growing recognition that compelling storytelling can emerge from any language or region. While commercial considerations will always play a role in filmmaking, his message is clear: audiences are ready for fresh ideas, and mainstream cinema should not be afraid to take a few more creative chances.