Filmmaker Vivek Ranjan Agnihotri has written a compelling open letter to Union Commerce and Industry Minister Piyush Goyal, expressing deep concern over the stagnation of Indian cinema and urging the government to step in with supportive measures. The letter, titled “Why Indian Cinema is Failing — And How Govt Can Fix Our $20 Billion Lost Opportunity,” was posted on X (formerly Twitter) on Monday, following Goyal’s remarks at the Startup Maha Kumbh where he called for startups to move beyond superficial ventures.
During his speech, Goyal had criticized the current focus of Indian entrepreneurs, questioning whether ventures like ice cream or fantasy sports apps truly contribute to innovation. He urged a shift towards sectors like electric vehicles, AI, and semiconductors—sectors in which global competitors like China are already making significant strides.
Agnihotri responded by highlighting another sector that he believes has immense untapped potential: Indian cinema. In his letter, he pointed out that despite India being the second-largest film-producing country in the world, its cinema has failed to evolve, compete globally, or harness its rich cultural legacy as a form of soft power—unlike countries such as South Korea and Japan. He cited examples like Korea’s $12 billion K-entertainment industry and Japan’s anime industry, which exceeds $20 billion in revenue, as models worth emulating.
The filmmaker criticized the Indian film industry for its lack of innovation, referencing globally acclaimed productions like Boyhood (shot over 12 years), 1917 (filmed to appear as one continuous take), Parasite (a bold social commentary), and Netflix’s Adolescence (shot in real-time). According to Agnihotri, while other countries are innovating with bold narratives and cutting-edge techniques, Indian cinema continues to copy formats without mastering their essence.
He pointed out the declining state of Bollywood, noting that studios are shutting down, producers are moving into real estate, and meaningful storytellers are being pushed out by an ecosystem that promotes social media celebrities over real talent. “Bollywood, once a soft power beacon, is now flower-power style without substance,” Agnihotri wrote. He painted a bleak picture of the current viewer experience: outdated screens, exorbitant ticket prices, food courts masquerading as cinemas, and an overall unaffordable movie-going experience for the middle class.
Citing his own experience with The Kashmir Files, Agnihotri said that despite the film’s unexpected success, it came with personal challenges, including threats, backlash, and character attacks. “If truth invites such hostility, how can we expect innovation?” he asked.
He ended the letter with a plea for government intervention, urging the creation of funding mechanisms, incentive platforms, and support systems to nurture bold, rooted, and innovative cinema. He believes Indic cinema has the potential to be India’s biggest cultural startup, capable of generating employment, exporting cultural capital, and reclaiming global influence.
“Cinema can be an economic and cultural powerhouse—India’s leading soft power—but only with introspection and disruptive innovation,” Agnihotri wrote, calling on Minister Goyal to help the industry make that leap.
During his speech, Goyal had criticized the current focus of Indian entrepreneurs, questioning whether ventures like ice cream or fantasy sports apps truly contribute to innovation. He urged a shift towards sectors like electric vehicles, AI, and semiconductors—sectors in which global competitors like China are already making significant strides.
Agnihotri responded by highlighting another sector that he believes has immense untapped potential: Indian cinema. In his letter, he pointed out that despite India being the second-largest film-producing country in the world, its cinema has failed to evolve, compete globally, or harness its rich cultural legacy as a form of soft power—unlike countries such as South Korea and Japan. He cited examples like Korea’s $12 billion K-entertainment industry and Japan’s anime industry, which exceeds $20 billion in revenue, as models worth emulating.
An Open Letter to the Hon’ble Minister Shri @PiyushGoyal ji. pic.twitter.com/waBsK2rUiv
— Vivek Ranjan Agnihotri (@vivekagnihotri) April 7, 2025
The filmmaker criticized the Indian film industry for its lack of innovation, referencing globally acclaimed productions like Boyhood (shot over 12 years), 1917 (filmed to appear as one continuous take), Parasite (a bold social commentary), and Netflix’s Adolescence (shot in real-time). According to Agnihotri, while other countries are innovating with bold narratives and cutting-edge techniques, Indian cinema continues to copy formats without mastering their essence.
He pointed out the declining state of Bollywood, noting that studios are shutting down, producers are moving into real estate, and meaningful storytellers are being pushed out by an ecosystem that promotes social media celebrities over real talent. “Bollywood, once a soft power beacon, is now flower-power style without substance,” Agnihotri wrote. He painted a bleak picture of the current viewer experience: outdated screens, exorbitant ticket prices, food courts masquerading as cinemas, and an overall unaffordable movie-going experience for the middle class.
Citing his own experience with The Kashmir Files, Agnihotri said that despite the film’s unexpected success, it came with personal challenges, including threats, backlash, and character attacks. “If truth invites such hostility, how can we expect innovation?” he asked.
He ended the letter with a plea for government intervention, urging the creation of funding mechanisms, incentive platforms, and support systems to nurture bold, rooted, and innovative cinema. He believes Indic cinema has the potential to be India’s biggest cultural startup, capable of generating employment, exporting cultural capital, and reclaiming global influence.
“Cinema can be an economic and cultural powerhouse—India’s leading soft power—but only with introspection and disruptive innovation,” Agnihotri wrote, calling on Minister Goyal to help the industry make that leap.
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