Indian Filmmaking – Finding the Missing Middle

Democratization of Dreams: Reimagining Indian Filmmaking & Industry from the Ground Up

Written by – Nagender Polamraju, CEO, Cinystore Technologies

We are the world’s most populated country. And we are a nation of film buffs too. But in the last 90 years, we have won Oscars only about ten times—Best Costume Design in 1983, Lifetime Achievement in 1992, Original Score/Song/Sound Mixing in 2009, Best Documentary in 2019, Best Song in 2023, and Scientific and Technical Advancement in 2018.

Although we have had several nominations in categories such as Best International Feature Film, we haven’t had the desired success.

The land of rich culture, the land that gave the world the epics of Mahabharata and Ramayana, and is so culturally diverse—produces a massive 2,000 films annually in more than 10 different languages.

Forget Oscars, many of these filmmakers rarely get to see their stories on screen.

Why is this the case with Indian Filmmaking?

Now let’s break down how the Oscars award the mainstream versus indie filmmakers.

If you analyze since the 1990s, there’s been a notable shift: more indie films (or films with indie roots) have started to dominate major Oscar categories. Among Best Picture winners from 1990 to 2023, roughly 70–80% were independent or semi-independent productions, often made by smaller studios like A24, Fox Searchlight, or distributed by Netflix/Amazon in recent years.

 

Nomadland (2021) – Indie

Moonlight (2016) – Indie (A24)

Everything Everywhere All At Once (2023) – Indie (A24)

The Hurt Locker (2009) – Indie (Summit Entertainment)

12 Years a Slave (2013) – Indie (Plan B, New Regency)

And if you dig a little deeper, you can see a similar trend—independent, auteur-driven films (often dealing with social issues, historical trauma, or deeply personal stories) win more often than commercially successful mainstream films.

So, it’s not necessary that mainstream heavy-budget content wins awards—it’s about recognition for talent.

What matters is the purity through which a story is told to the world, the passion and commitment of the team working on it, and the scope for fresh minds that can bring novel ideas. The sensibility to tell stories from the heart is the key to recognition.

There is a wealth of young talent out there who have the expertise to tell a story to the world, but many of these aspiring filmmakers rarely get to see their stories on screen. The reason lies in access, affordability, and industry gatekeeping when it comes to producing cinematic marvels.

In hush-hush tones, industry insiders themselves discuss how Indian Filmmaking and the industry has remained dominated by a few production houses—from opportunities to technology required for production, to marketing channels and opaque distribution networks. An aspiring cinema producer faces all these challenges—navigating through the opacity of the system.

The digital revolution since 2010, which has enabled several sectors—banking, insurance, and even redefined how we work—could flip the entire script for India.

The 2,000 movies that we produce every year, and also the countless stories that never get a chance to be made, could find life and reach the right audience. Producers could find a market. It could be a huge win-win for the entire industry and the economy. Remember, we are one of the largest industries in the world, and as per estimates, India’s Entertainment and Media (E&M) industry is set to outpace global growth, with a compound annual growth rate (CAGR) of 8.3%, projected to reach US$ 43.03 billion (Rs. 3,65,000 crore) by FY28.

Finding the Missing Middle

Indian filmmaking ecosystem disproportionately favors two ends of the spectrum: big studio-backed productions and ultra-low-budget DIY content (often destined for YouTube).

What’s missing is a viable mid-tier production and distribution system for independent creators—particularly those working outside Mumbai, Delhi, or Hyderabad, and beyond established networks—to boost both the content produced and the economy (revenue and employment).

In essence, it is not a creative hiccup, rather there are three fundamental aspects surrounding the issue:

Infrastructure: For early-stage filmmakers, including first-time directors, there is excessive reliance on informal networks to find crew, equipment, and post-production help.

Deep Pockets: Big studios can afford to spend crores on promotions, but independent filmmakers lack access to capital and tools to even reach an audience. We can always think that promotion can be done via Facebook ads. But who pays for it? Where to advertise it? What is the right strategy? Should we hire a CMO or a large team?

Distribution: And even if one has an affirmative response to all the above questions, how does one tackle the distribution bottlenecks? Remember, without access to festivals or deep connections with theatrical chains or OTT platforms, a film would never reach beyond a creator’s immediate circle. So, it’s not just a creative problem, it’s an economic bottleneck.

A generation of skilled media graduates, regional storytellers, and independent artists remains under-leveraged due to the absence of structured support systems.

A Platform for Filmmakers

India needs a digital solution—perhaps an ecosystem that offers a gamut of services ranging from production to marketing to post-production. And that as a strategic intervention, not just lip-service or a gimmick. Such a platform could serve as a middle-layer infrastructure that democratizes access while preserving creative autonomy. In effect, it mimics the functions of a traditional studio, but without the overheads, gatekeeping, or geographic limitations—a digital or virtual studio.

Such a platform could be what Shopify did for e-commerce entrepreneurs, or Substack did for independent writers, or WordPress did for budding internet brands.

At film festivals, artists often ask why India can’t win more Oscars.

Well, we don’t suffer from a shortage of creativity, but from the absence of systems that can scale creativity without sterilizing it.

India needs a digital tool that can bridge the gap between production and visibility. If such platforms can be supported and scaled, India could have the next decade—or century—of storytelling. And we could create more opportunities for emerging creators—from pitch to premiere.

Nagender Polamraju is the CEO of Cinystore Technologies, a visionary leader revolutionizing film distribution by empowering independent filmmakers through AI-driven solutions.