The struggles of small-budget, content-driven films in the Telugu film industry have once again come to the forefront, this time sparked by a shocking act from a young filmmaker. Mohan Srivatsa, the director of Tribanadhari Barbarik, resorted to an extreme and emotional gesture by slapping himself with a slipper in front of the media to convey his deep disappointment over the poor response to his latest work. Despite heartfelt efforts, including appeals to audiences to support the film, the movie failed to gain traction at the box office. The incident has triggered concern among filmmakers and film enthusiasts, highlighting the mounting challenges that small-budget films face in an increasingly competitive industry dominated by big-ticket commercial releases.
Noted producer Raj Kandukuri, recognized for championing emerging talent and meaningful cinema, expressed his distress about the episode, calling it both painful and deeply unfortunate. Having previously nurtured critically acclaimed films like Pellichoopulu and Mental Madhilo, Kandukuri has consistently positioned himself as a strong advocate of fresh voices in Telugu cinema. He pointed out, however, that even repeated calls from actors such as Vishwak Sen and Nara Rohit—urging audiences to embrace smaller films—have not significantly altered audience behavior. In recent months, several modestly budgeted projects including Arjun Chakravarthy, Kanya Kumari, The 100, Bun Butter Jam, Oh Bhama Ayyo Rama, and Meghalu Chepina Prema Katha quickly faded into obscurity, unable to make a mark despite earnest storytelling attempts. According to Kandukuri, the disconnect lies not in the absence of quality but in the failure to effectively connect with audiences before release.
Drawing on his own experience, Kandukuri emphasized that “making a good film is only half the job,” and that marketing has now become an equally decisive factor in a film’s success. He elaborated that for a small film, a minimum of fifty to sixty lakh rupees must be earmarked to create adequate publicity, while big-budget ventures often require promotional spends in the range of three crore or more. The need for viral visibility—whether it comes from a catchy song, a widely shared teaser, or a trending social media campaign—has grown indispensable. Without that initial spark, audiences are often reluctant to visit theatres, even if the content proves to be strong. As he observed, several films in 2024 released without sufficient pre-release buzz, only to vanish within days of release.
Kandukuri also drew comparisons with other South Indian industries, particularly Malayalam and Tamil cinema, where audiences have shown a greater openness to experimental narratives and non-star films. Malayalam cinema, in particular, has consistently demonstrated that small-scale productions can thrive if they combine compelling storytelling with innovative promotion. Telugu audiences, however, tend to be more conservative in their viewing choices, often gravitating toward larger-than-life star vehicles and commercial spectacles.
Nonetheless, there have been exceptions. Films like Committee Kurrollu and Aay, driven more by theme and content than star power, managed to resonate with audiences, offering a glimmer of hope. At the same time, even major star-driven projects have faltered at the box office within days of release, reaffirming the industry axiom that while stardom may ensure openings, long-term success ultimately rests on content.
In conclusion, Kandukuri’s observations underscore a critical crossroad for Telugu cinema. On one hand, small films represent the industry’s creative pulse, injecting freshness, experimentation, and new perspectives into the mainstream. On the other hand, their survival is increasingly dependent on strategic marketing and innovative outreach, without which even the most sincere efforts risk sinking unnoticed.
The dilemma facing filmmakers like Mohan Srivatsa reflects the larger reality of an ecosystem where talent and content must be matched equally with resources and promotional ingenuity. For an industry that has often prided itself on balancing artistry with commerce, the challenge moving forward lies in building greater space for small films to thrive, not just at the margins but within the mainstream cultural conversation.
