In a powerful joint address at the Waves Summit, Bollywood megastars Shah Rukh Khan and Aamir Khan delivered a stark diagnosis for the ailing theatrical business in India. Both icons unanimously declared that a massive expansion of cinema screens across the nation is the single most critical step needed for revival, highlighting a severe infrastructure deficit compared to global giants.
The Screen Shortfall: A Fundamental Bottleneck
Aamir Khan presented a blunt numerical comparison to underscore the scale of the problem. He pointed out that India operates with approximately 10,000 cinema screens. This pales in comparison to the United States, which boasts around 40,000 screens, and China, which leads with nearly 80,000. For Aamir, this isn't just a number; it's the core constraint stifling growth.
"My belief is that we need to have a lot more theatres in India and theatres of different kinds," Aamir stated. He emphasized that vast districts and regions in the country lack even a single theatre, making cinema an inaccessible luxury for millions. "I feel that whatever issues we have faced over the decades are just about having more screens. And according to me, that is what we should be investing in."
Shah Rukh Khan reinforced this view, framing it as an issue of affordability and accessibility. He warned that movie-going is rapidly transforming into an expensive urban privilege, sidelining a significant portion of the population. "I still believe the call of the day is simpler, cheaper theatres in smaller towns and cities," Shah Rukh argued, advocating for showcasing Indian films in all languages to a wider audience at lower prices. "Otherwise, it's becoming very expensive, only in big towns."
The Content Conundrum: More Screens for What?
While the stars' concern is genuine, their infrastructure-focused solution prompts a critical, often-avoided question: will building more screens automatically fill them with audiences? The assumption that demand is being suppressed solely by supply constraints is challenged by recent box office trends.
The past few years reveal a complex picture. Despite the existing screens, a overwhelming majority of films fail to sustain audience interest beyond the opening weekend. Barring sporadic blockbusters like 'Pathaan', 'Jawan', 'Animal', '12th Fail', and this year's 'Dhurandhar' or 'Chhaava', most releases see a sharp drop in footfall after the first two days. Theatres exist, but seats remain empty, pointing to a deeper content crisis.
Aamir Khan himself highlighted a startling paradox. He noted that of India's 10,000 screens, half are in the South, leaving only about 5,000 for Hindi films. "Only two per cent of the population in our country, which is recognised as a film-loving country, watches our biggest hits in theatres," he revealed. "Where is the rest 98 per cent watching a movie?" This statistic suggests the problem extends far beyond mere screen availability.
The OTT Dilemma and Shrinking Windows
The challenge is compounded by the rise of streaming platforms and the shrinking theatrical-to-OTT window. Today's audience, spoiled by vast digital libraries available at a fraction of a ticket's cost, demands high-quality, compelling narratives. A theatrical visit is now a conscious investment requiring a worthwhile return.
Furthermore, many films now land on OTT platforms within three to four weeks, sometimes sooner. Aamir Khan criticized this practice as illogical, saying, "It's like telling an audience, 'Don't watch it in the theatre. I'm coming to your home in two weeks!'" He practiced what he preached by releasing his last film, 'Sitaare Zameen Par', directly on YouTube for a nominal fee. The Tamil film industry, after a disastrous 2025, is now rebelling, demanding a minimum 8-week theatrical window for films releasing in 2026.
Exhibitor Raj Bansal added that OTT platforms have reduced film acquisition budgets, causing many projects to stall after launch. Some platforms have even stopped buying Hindi films altogether, focusing instead on South Indian, Turkish, and Korean content.
A Path Forward: Investment in Story, Not Just Steel
Building more screens without addressing the core content issue is a risky gamble. It resembles constructing cricket stadiums for matches no one wants to watch. New theatres in small towns face operational hurdles like costs, power, and staffing, and without a consistent pipeline of resonant local content, they risk becoming financial burdens.
The consensus emerging is that Indian cinema needs a dual strategy. Infrastructure expansion must go hand-in-hand with a sustained, strategic investment in storytelling. This means creating writer rooms, script labs, and development cycles that prioritize quality and nurture new voices. Theatres must offer an irreplaceable experience—collective emotion, visual spectacle, or deeply human stories—that justifies leaving the couch.
The vision of Shah Rukh and Aamir Khan for a screen-rich India is expansive, but the revival of the theatrical business hinges on answering the tougher question: how to create films that 98% of the population will eagerly leave their homes to watch.
