A simmering conflict has taken center stage in the South Indian film industry as the Film Employees Federation of Kerala (FEFKA) takes a firm stand against PVR INOX for their decision to pull Malayalam movies off their screens. The tussle between Kerala’s flagship cinema and the multiplex giant shows no sign of abating, with FEFKA demanding compensation for recent releases not screened due to a rift with the Kerala Film Producers’ Association (KFPA) over content sharing practices.
During a pivotal meeting in Kochi on April 13, FEFKA resolved to intensify their protestations against PVR INOX after the latter’s refusal to showcase highly-anticipated Malayalam titles such as Fahadh Faasil’s ‘Aavesham,’ Vineeth Sreenivasan’s ‘Varshangalkku Shesham,’ and Unni Mukundan’s ‘Jai Ganesh.’ In addition to spurning these new releases, the cinema chain halted the screening of already released films ‘Premalu,’ ‘Manjummal Boys,’ and the critically acclaimed ‘Aadujeevitham.’
B. Unnikrishnan, the general secretary of FEFKA, conveyed the federation’s strong sentiments to reporters, stating their readiness to protest outside PVR INOX-owned theaters. In a significant escalation, Unnikrishnan mentioned seeking the intervention of Kerala’s Chief Minister, Pinarayi Vijayan, to bring a resolution to the standoff against what they view as PVR INOX’s unilateral stance against Malayalam films.
PVR INOX dug in their heels after claiming the KFPA advised the company to acquire Malayalam movie content exclusively through a content mastering and distribution network established by the producers’ association. They argue that such a mandate compels exhibitors to procure content from a single source, a practice they label as anti-competitive and against the law. In defense of their position, PVR INOX insisted in an April 11 release that complying with such advice contradicts their commitment to fair competition within the Indian Film Industry.
The dispute came into sharp focus when Blessy, director of ‘Aadujeevitham,’ voiced the severe financial toll on his film’s producer following the movie’s withdrawal from PVR INOX screens. Blessy highlighted that their film was excluded from screening even after the virtual print fee (VPF) was settled in advance, signaling a disregard for standard industry procedures.
In response to the high VPF rates being charged by existing content providers such as Qube, UFO, PXD, and TSR, the KFPA recently inaugurated PDC (Producers’ Digital Cinema), aiming to offer a more cost-effective solution for showing movies. The PDC’s agenda is to create a scenario where films can be screened at reasonable costs by providing theaters with mastered content, especially those equipped with their own projector and server systems.
Furthermore, while some theaters have agreed to transition to using PDC after their current contracts with other service providers end, many producers and distributors continue to pay steep VPFs for projector rentals in hope of a forthcoming resolution. This ongoing cooperation by industry stakeholders underscores a willingness to find common ground amidst the VPF controversy, even as negotiation efforts persist.
The current climate of standoffs and threats of statewide protests underlines the deep-seated discord between cultural institutions — the producers, filmmakers, and the exhibitors — highlighting the intricate dynamics of film distribution and the balancing act between profitability and accessibility within the Malayalam film industry. As the stalemate continues, audiences and creatives alike hope for a swift and equitable solution that ensures the silver screen continues to light up with Kerala’s cinematic stories.
