Following the BJP’s electoral victory in Bengal, several stakeholders in Tollywood — including actors, directors and producers — have expressed optimism, voicing hope for meaningful reforms.
Voices from across Tollywood suggest that the industry is at a turning point. Many believe that the future of filmmaking will depend not only on creativity but also on how the industry handles issues of fairness, freedom and working conditions.
One of the biggest hopes is that the film industry can move away from political influence and interference.
People want a space where films are made without external influence, where creative choices are respected. Along with this, there is a strong feeling that the culture of bans and restrictions should end. Actors and technicians want to work without fear, so that they can tell stories freely and honestly.
Industry insiders said the change could bring increased investment into the Bengali film industry. Notably, most individuals who Metro spoke to requested anonymity, citing the current sensitive climate within the industry.
“There should be an immediate withdrawal of any ‘bans’ on actors and directors. Artistes and technicians should not be compelled to participate in political activities or events. A neutral and independent creative space is essential for the industry’s growth. A dedicated funding mechanism could be introduced, offering entertainment tax exemptions for Bengali-language films — similar to the model followed in Maharashtra,” said a producer.
“The state can further strengthen regional cinema through subsidies, incentives and concessions. One hopes that an international film city will be established in the state soon, making it more film-friendly and attractive for large-scale productions. In the past, acclaimed filmmakers like Shoojit Sircar and Sujoy Ghosh have shot extensively in Bengal. There is a strong expectation that a more enabling environment will encourage national filmmakers to return here once again,” added the producer.
There is also a growing demand for fair systems within the industry. Many talented newcomers are waiting for opportunities, especially when it comes to joining guilds and getting proper recognition.
Industry members feel that these processes should be transparent and free from favouritism or harassment. At the same time, there is a need for clear rules and standard practices, similar to other film industries, so that producers and creators are not forced into unfair or harmful situations.
“As a senior producer and industry veteran, I feel that the new government’s first 100 days must include a comprehensive reform of how film, television and digital content is made, governed and measured in Bengal,” said producer Firdausul Hasan, president of Bengal Film and Television Chamber of Commerce, and a former president of Film Federation of India.
“For decades, Bengal carried a creative authority that no other state in India could claim. Today, that glory has diminished. The change of political regime in the state can be used to usher in positive changes in the film industry if the authorities take certain measures,” he said.
“Bengali theatrical film output dropped from over 130 films (five years ago) to fewer than 40 in a single year. The number of television serials fell from over 40 (three years ago) to nearly half of that. Several national producers and platforms, which were once eager to bring work to Calcutta, now route their shoots to Odisha, Jharkhand and Hyderabad, citing unpredictability, inflated mandatory crew costs and the threat of union-driven shutdowns,” said Hasan.
Another important issue is the state of cinema halls, especially single-screen theatres.
Director Ranjan Ghosh — whose critically acclaimed film Adamya will have its US premiere on May 30 at the New York Indian Film Festival — underscores the urgent need to revive single-screen theatres, which have long been the backbone of regional film culture.
Government intervention, according to Ghosh, could play a crucial role in sustaining these spaces while also expanding access to affordable cinema halls in smaller districts.
At the heart of Ghosh’s expectations is a desire to see the industry freed from excessive political influence. He envisions a space where storytelling is no longer overshadowed by ideological pressures, allowing cinema to reclaim its creative autonomy. Alongside this, he expresses hope for the end of what he describes as a “ban culture,” arguing that artistes and technicians should be able to work without fear of arbitrary restrictions or backlash.
“Arbitrary bans and debarments must end. A joint, independent disciplinary board with representation from producers, guilds and neutral legal experts must replace the current system where a single federation leader can ground a director’s /actor’s career with no written charge, no hearing and no appeal. Any future MoU between producers and guilds must be vetted for compliance with competition law before adoption,” said Hasan.
What is needed, added Hasan, is a comprehensive Bengal Film and TV Code.
“The new government has both the mandate and the opportunity to push it through. The core of this code must establish the following: producers must be free to hire technicians — union or non-union, local or from outside the state — based on project requirements, with financial incentives built around voluntary local-talent usage rather than enforced quotas. Call time must legally mean the time a technician arrives at the shooting location, not at Tollygunge, ensuring that travel neither erodes working hours nor inflates cost arbitrarily,” said Hasan.
“Format-specific, transparent rate cards — for theatrical films, OTT originals, TV serials, advertisements, branded content and short-form digital — must replace the current system of ad hoc on-set demands, with clear published definitions separating a television commercial from a sponsored show from a brand integration,” he added.
“A new government is likely to establish better safety and security measures. New standard operating procedures must be established to improve the overall working conditions. Though not discussed openly, there is a subtle yet clear discrimination at play in how different hierarchies of cast and crew are treated at a shoot. For example, junior artistes are often ill-treated and do not even get decent quality food at lunch. A new government can potentially establish the dignity of labour and remove discriminatory practices,” said a director on condition of anonymity.
However, these hopes are tempered by a set of concerns.
Ghosh warns that censorship could become more stringent, potentially stifling creative expression. One of his most pressing worries is the possible erosion of artistic freedom under the pretext of protecting public sentiment.
In such an environment, filmmakers may find themselves self-censoring or avoiding complex subjects altogether.