The Ministry of Information and Broadcasting has announced two major initiatives to strengthen the Indian film industry. A high-level study group chaired by Prasoon Joshi will examine the opportunities and challenges facing Indian cinema, while a set of Model State Cinema Regulations has been circulated to states to streamline the establishment of cinema halls. These decisions, taken during a review meeting led by Union Minister Ashwini Vaishnaw, mark the government’s most significant policy push for the film sector in recent years.
Two Key Initiatives for Indian Cinema
The Ministry of Information and Broadcasting, which oversees film promotion and certification in India through the Cinematograph Act, 1952, and the Central Board of Film Certification (CBFC), announced two complementary measures. The first is the constitution of a high-level Study Group tasked with identifying structural reforms for the film industry. The second is a set of Model State Cinema Regulations designed to reduce the regulatory burden on setting up and operating cinema halls, especially in smaller towns and rural areas.
Both initiatives were finalized at a high-level review meeting chaired by Ashwini Vaishnaw in New Delhi. The Ministry described the measures as a coordinated effort to build a modern, globally competitive film ecosystem by tackling long-standing challenges in film financing, technology adoption, policy coordination, and cinema infrastructure.
The High-level Study Group: Scope and Leadership
The newly constituted study group is chaired by Prasoon Joshi, the Chairman of Prasar Bharati, India’s statutory autonomous public service broadcaster. The panel includes industry experts and technology partners, and has been given a broad mandate covering multiple dimensions of the film industry.
The group is required to submit its report within three months after consulting stakeholders from across the country.
Mandate of the Study Group
The Terms of Reference for the study group cover four major areas:
Global competitiveness. The panel will examine why Indian films, despite being produced in large numbers across multiple languages, have not achieved sustained global resonance beyond the diaspora audience. It will recommend measures to make Indian films more competitive in world markets and help Indian filmmakers reach larger international audiences.
Technology adoption. The group will study the impact of emerging technologies such as Artificial Intelligence (AI) and virtual production on filmmaking. It will suggest how Indian filmmakers can leverage these tools to improve efficiency, reduce costs, and enhance creative output.
Film financing. The panel will explore ways to improve access to institutional finance for filmmakers and develop alternative funding models for film production and distribution. It will examine the difficulties independent producers and smaller studios face in raising capital, and recommend policy interventions to address these gaps.
Policy framework. The study group will work with state governments and other stakeholders to identify best practices across the country and recommend a comprehensive policy framework for the long-term growth of Indian cinema.
Who Is Prasoon Joshi?
Prasoon Joshi is a well-known lyricist, writer, and communications professional who was appointed Chairman of Prasar Bharati in May 2026. Before this, he served as the Chairperson of the Central Board of Film Certification (CBFC) since August 2017, making him the longest-serving CBFC chairperson. He has also held senior leadership positions in advertising, including CEO of McCann World Group India and Chairman of McCann World Group Asia Pacific. Joshi is also a trustee of the Indira Gandhi National Centre for the Arts.
Prasar Bharati, the public service broadcaster that oversees Doordarshan and All India Radio, was established under the Prasar Bharati Act, 1990 and became operational on 23 November 1997. Its headquarters are in New Delhi.
Model State Cinema Regulations: Streamlining Film Exhibition
In a separate but equally significant move, the Ministry has prepared a set of Model State Cinema Regulations and circulated them to all state governments for adoption. These regulations are designed to address the fragmented regulatory landscape that has hindered the growth of cinema infrastructure across India.
The Constitutional Context
Under the Seventh Schedule of the Constitution, the regulation of cinemas and theatres falls under Entry 33 of the State List (List II), which covers “theatres and dramatic performances; cinemas subject to the provisions of entry 60 of List I; sports, entertainments and amusements.” This means that each state government has the authority to frame its own rules for licensing and operating cinema halls. Only the sanctioning of cinematograph films for exhibition (film certification) is a Union subject under Entry 60 of the Union List (List I), which is handled by the CBFC under the Cinematograph Act, 1952.
Because cinema regulation is a state subject, different states follow different approval processes, fee structures, and compliance requirements. This variation has been identified as a major obstacle to expanding cinema infrastructure, particularly in small towns and rural areas where the regulatory burden disproportionately discourages investment.
What the Model Regulations Propose
The model regulations, prepared after extensive consultations with stakeholders, aim to streamline the process of establishing and operating cinema halls. Key features include:
Standardised timelines. The regulations propose fixed timelines for various approvals, such as three weeks for certain clearances and ten days for others. This would replace the current system where delays are common due to the absence of defined deadlines.
Simplified clearances. The framework seeks to streamline the requirements for no-objection certificates (NOCs) and other exhibitor approvals, reducing the number of touchpoints an entrepreneur must navigate to open a theatre.
Advisory in nature. Since cinema regulation falls entirely under state jurisdiction, the model regulations are advisory documents. States are free to adopt, adapt, or ignore them. The Ministry has offered technical assistance to states that choose to implement the framework.
Why These Reforms Matter
The twin initiatives address several structural weaknesses that have long constrained the Indian film industry. Together, they aim to create a stronger ecosystem for film production, distribution, and exhibition.
India’s Cinema Infrastructure Gap
India, the world’s largest producer of films with over 1,900 films released annually, has a severe shortage of cinema screens. According to industry data, India has approximately 10,033 screens as of 2025, or just about 6.8 screens per million people. This compares poorly with other major film markets such as the United States (109 screens per million), the United Kingdom (66), France (95), and China (64).
| Metric | India | US | UK | France | China |
|---|---|---|---|---|---|
| Screens per million people | 6.8 | 109 | 66 | 95 | 64 |
| Total screens | ~10,033 | ~40,000 | ~4,500 | ~6,300 | ~86,000 |
Of India’s roughly 19,500 pin codes, more than 16,300 have no cinema screens at all. Only about 3,150 pin codes have access to theatres. This means a large majority of the population, especially in tier-2 and tier-3 cities and rural areas, has limited or no access to the cinematic experience.
The Multiplex Association of India, in collaboration with EY, estimated that doubling India’s screen count to 20,000 over five years could unlock Rs 6,600 crore in additional theatrical revenues, create 1.25 lakh direct jobs, and generate Rs 950 crore in additional tax revenue.
Global Competitiveness of Indian Cinema
While Indian films are released in multiple languages across the world, their audience remains largely confined to the Indian diaspora. Barring exceptions such as RRR, which won an Academy Award for Best Original Song in 2023, Indian films have rarely broken into global mainstream markets. The last Indian film to be nominated for the Oscars in the Best Foreign Language Film category was Lagaan in 2001.
The study group is expected to examine why India has not produced globally resonating media franchises like the United States, Japan, or South Korea have done, and recommend strategies to change this.
Financing and Technology Gaps
Access to institutional finance has been a persistent challenge for Indian filmmakers, particularly independent producers and smaller studios. Banks and financial institutions have traditionally been hesitant to lend for film production due to the high-risk, unpredictable nature of the business. The study group will explore alternative funding models and ways to improve access to capital.
On the technology front, the rapid adoption of AI and virtual production in global filmmaking is transforming how films are made. The study group’s mandate includes assessing how Indian filmmakers can adopt these technologies to stay competitive, reduce production costs, and improve the quality of output.
Key Takeaways
- The Ministry of Information and Broadcasting has announced two initiatives: a high-level Study Group chaired by Prasoon Joshi and Model State Cinema Regulations for adoption by states.
- The study group will examine global competitiveness, technology adoption (AI and virtual production), film financing, and recommend a policy framework for long-term growth.
- The study group must submit its report to the Ministry within three months after nationwide stakeholder consultations.
- Regulation of cinemas and theatres falls under Entry 33 of the State List of the Constitution, which is why the model regulations are advisory and states must adopt them voluntarily.
- India has only about 10,033 cinema screens (6.8 per million people) compared to the US (109) and China (64), with over 16,300 pin codes having no theatres at all.
- Doubling the screen count to 20,000 could generate Rs 6,600 crore in additional revenue, 1.25 lakh jobs, and Rs 950 crore in extra tax revenue.
- Prasoon Joshi is the Chairman of Prasar Bharati (established under the Prasar Bharati Act, 1990, operational since 1997), and previously served as the longest-serving chairperson of the CBFC.
