October 2 is set to be a pivotal date for Indian cinema, marking a fierce competition between two films—Rishab Shetty’s Kantara: Chapter 1 and Dharma Productions’ Sunny Sanskari Ki Tulsi Kumari. Kantara, a gripping tale woven from folklore and fury, has unexpectedly garnered immense popularity beyond its initial Karnataka base. Meanwhile, the glossy romantic comedy from Dharma faced an uphill battle prior to its release, effectively losing its foothold in theaters.
In a surprising maneuver, Anil Thadani’s AA Films secured a staggering 260 out of 275 single screens in the CP Berar circuit exclusively for Kantara. In contrast, Dharma managed to lock in merely four screens. This discrepancy brings into question the viability of a fair competition between the two films, looking more like a lopsided affair than a battle.
The numbers are striking, and they tell the story plainly: with Kantara claiming 260 screens, the disparity is undeniable. Thadani’s aggressive strategy appears calculated as he executed a complete lockout deal, leaving Dharma in a precarious position to negotiate for the remaining few screens.
Typically vocal, Karan Johar has surprisingly remained silent during this release clash. This has sparked curiosity among fans, who wonder if the lack of a strong response indicates that Dharma may have underestimated Kantara’s gripping narrative and audience appeal.
Interestingly, Kantara managed to soar without the extensive promotional campaigns that are often typical of Bollywood releases. Instead of a lavish press push, it relied on the power of word-of-mouth and its raw story, leading theaters to favor it over a more conventional rom-com that might resonate differently.
The clash between a deep-rooted folklore epic and light-hearted romance reflects broader trends in audience preferences, particularly in rural India, where single screens are vital to cinema consumption. The choice for exhibitors was clear: one film promises a packed audience experience, while the other struggles for attention.
The situation has also drawn mixed opinions among fans. While some see Thadani’s strategy as savvy, others view it as monopolistic. The debate centers around whether one film should be allowed to monopolize nearly all available screens, signaling a potential shift in how films compete in the current landscape of Indian cinema.
As the release date approaches, the competition appears to be heavily skewed in favor of Kantara: Chapter 1. What was meant to be a box office showdown has turned into a striking case study in industry power dynamics, as Kantara rises to prominence, while Dharma is left searching for opportunities. Ultimately, this scenario raises a critical question about the freedom and choices offered to the audience in an evolving cinematic environment.