Anurag Kashyap is upset. But this time, it isn’t about reviews, censorship, social media outrage, or box office numbers. It is about show timings. The filmmaker recently called out multiplex chains on Instagram, questioning why Hollywood blockbuster Obsession continues to dominate prime slots while several Indian films, including his own Bandar and Imtiaz Ali’s Main Vaapas Aaunga, are reportedly being pushed to less favourable timings.

At first glance, it sounds like a filmmaker fighting for his film. Look a little closer, though, and it becomes a much bigger conversation. Because Anurag Kashyap’s frustration touches on a question that has quietly haunted Indian cinema for years. The question is, what happens when audiences never get a fair chance to discover a film in the first place?

What Exactly Is Anurag Kashyap Upset About?

According to Anurag Kashyap, multiplexes have continued giving Obsession some of the most desirable show timings even after the film established itself at the box office.

His argument isn’t that the film doesn’t deserve success. It is that other films deserve visibility too. For many movies, especially those that rely on strong reviews and word-of-mouth, show timings can be the difference between finding an audience and disappearing within a week.

A Friday evening show at 8 pm is not the same as a weekday screening at 10:45 pm.

Technically, both are screenings.In reality, only one gives a film a genuine chance.

Why Are Show Timings Such A Big Deal?

Because most films no longer have time. Not in today’s theatrical ecosystem.

There was a time when movies could build momentum gradually. Someone watched it. They recommended it to a friend. The friend convinced three more people. By the second or third weekend, the film had found its audience. That model is becoming increasingly rare.

Today, films are often judged within days. If collections are weak, shows get reduced. Once shows get reduced, fewer people watch the film. And once fewer people watch it, the perception becomes that nobody was interested. It is a cycle many filmmakers have complained about for years.

Why Do Multiplexes Keep Backing Hollywood Films?

The simple answer is money.

Multiplexes are businesses. Their job is to fill seats. If a Hollywood event film is selling tickets consistently, exhibitors are naturally inclined to give it premium screens and premium timings.

And in urban India, Hollywood has become a reliable draw. Big-budget spectacles, franchise films, and visual effects-heavy blockbusters often attract audiences willing to pay more for IMAX and premium formats.

From a business perspective, the decision makes sense. But that is where the tension begins. Because what makes financial sense in the short term may not always be healthy for the wider ecosystem.

The Real Problem Is Not Hollywood

It is easy to frame this as Hollywood versus Bollywood. But that is not entirely accurate. The same thing happens within Indian cinema. Smaller Hindi films get squeezed by larger Hindi films. Regional releases struggle against pan-India spectacles. Independent films lose screens to star vehicles. The deeper issue is scale.

The theatrical system increasingly rewards films that create immediate demand. Everyone else is left fighting for visibility. Hollywood blockbusters simply happen to be among the strongest players in that game right now.

Why Films Like
Bandar Need Time Than Others?

Not every film is designed to open with massive numbers. Some films grow. They rely on conversations. On reviews. On people leaving theatres and telling others, “You need to watch this.”

Films like Bandar and Main Vaapas Aaunga fall into that category. But word-of-mouth only works when audiences can actually find a convenient show. If a film is available only at odd hours, many potential viewers never get around to buying a ticket. The film then appears unsuccessful, even though the audience was never fully given the opportunity to discover it.

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