Everyone is now aware of the ongoing controversy in the theatrical system across the Telugu states. Single-screen exhibitors are demanding a percentage-based revenue model similar to multiplexes. However, what’s visible on the surface is one thing, while what’s happening behind the scenes is entirely different.

Why has this issue, which never came up all these years, suddenly surfaced now? And more importantly, why was it brought up precisely during the release time of the film Hari Hara Veera Mallu? How did exhibitors suddenly muster the courage to even threaten a complete theatre shutdown? Who is really behind this bold move?

It’s been a long time since theatre ownership has shifted from the original owners to leaseholders. In both Telugu states, the theatrical network has come under the control of just “those four people.” And not just theatres—distribution is also under their control. This means that even a producer who invests crores of rupees, or an exhibitor who builds a theatre to screen movies for the public, must ultimately listen to these four. In simple terms, they have taken the entire film industry into their grip.

When their own films are in release, they act as though the Telugu film industry has no problems at all. But when it comes to producers or heroes they don’t favor, they stir up issues and create disturbances. That’s the discussion currently dominating the Telugu film industry.

Jana Sena chief Pawan Kalyan has urged everyone in the film industry to come together to resolve issues and work for progress. But a certain group seems to be ignoring his appeal. After assuming the role of Deputy Chief Minister, Pawan Kalyan held a positive and constructive meeting with film producers. In return, this select group has “gifted” him theatre shutdowns—an indirect but clear act of defiance.