A typical workday for Michael (name changed), a lighting technician in the Malayalam film industry, begins at the crack of dawn. By 5 a.m., he heads to the office where equipment is stored, loads the necessary lights for the day’s shoot into a vehicle with the help of colleagues, and then travels to the shoot location. Work officially starts as early as 6 a.m. and continues non-stop until 9:30 p.m. on what he describes as “normal days.”
“Sometimes, the work can stretch up to 2 a.m. the following day,” Michael reveals. “But regardless of how late the previous day’s shoot goes, the next day’s work begins at 6 a.m. This leaves us with very little time to sleep. So, when we’re part of projects, we often go sleep-deprived for days.”
The Hema committee report, which investigates various issues in the Malayalam film industry, including those faced by women, highlights severe labor issues rampant in the sector. However, these concerns have not garnered much attention. The prevailing working conditions, which can encompass workdays of 15 hours or more, have been corroborated by technicians working across different departments. These conditions clearly violate national labor laws.
The industry has sustained these lengthy working hours from earlier times as a cost-cutting measure. Newcomers to the industry often feel powerless to question such practices for fear of jeopardizing their careers, perpetuating the system. According to a seasoned cinematographer, most other film industries maintain a fixed work schedule of less than 12 hours and offer proper overtime payment. Yet in the Malayalam film industry, overtime pay is only marginally more.
“With such backbreaking schedules, movies are sometimes completed quickly,” notes a member of the lighting crew.
. “Producers reap all the profits, while workers down the hierarchy often end up with health issues due to irregular sleep and eating habits.”
Top actors are only required to be on set when their scenes are being shot, but those working behind the scenes, particularly those involved in building elaborate sets or installing complex lighting equipment, must work tirelessly for extended hours. The demanding work schedule also acts as a barrier for women in many departments, reflected in their minimal or nonexistent participation. For instance, a costume designer pointed out that the time spent washing and drying costumes each day adds to their working hours.
Labour Minister V. Sivankutty stated that the department has yet to receive any complaints regarding the working conditions in the industry. “Only the technicians in the film industry come under the purview of the Labour Department. However, we have not yet received any formal complaints regarding labor-related issues in the industry. If there’s an area where the department can intervene, we will certainly do so,” he told The Hindu.
Assistant directors say that the pre-production phase, which can span from 2 to 5 months before shooting begins, is not factored into their remuneration. They are frequently paid ₹30,000 to ₹40,000 or even less for work that can extend over eight months. The fairness of their working conditions largely depends on the director they work with. “The demand for ‘adjustments’ is higher when it comes to payments. There’s no written contract for most departmental workers, and an agreed amount is promised verbally when we’re called for a project. But after the shoot, production executives often negotiate to reduce this amount. In some cases, it’s quite a struggle to get even the initially promised amount,” shared a still photographer who has worked on multiple major projects.
Junior artists are arguably in even worse conditions. As noted by the Hema committee, their situation is described as being “worse than slaves,” with workdays stretching up to 19 hours. These individuals often rely on middlemen, making them particularly vulnerable to exploitation.
A striking aspect of this scenario is how deep the roots of these issues go and how they amplify broader societal inequalities. The long hours, lack of formal contracts, and meager pay—all highlight an urgent need for systemic change within the industry to conform to labor laws and ensure the well-being of all its workers.
Although the Hema committee has brought these issues to light, the lack of substantial legislative and industry response underscores a troubling indifference to labor rights. The Malayalam film industry’s need for reform has never been more pressing. Action must be taken to rectify these severe labor violations and create a fairer, safer working environment for everyone involved.
