As India’s cinema footfalls lag, Nikhil Kamath bets on masala films and live events over AI coolness

In a world that rushes to redefine itself with artificial intelligence, algorithms and analyzes, businessman Najil Kaath took a temporary stop for the heroism of a refreshing human thing – tasting, experience, and unacceptable emotion.

“I, on the one hand, I will choose a good local place for Al -Braiani on a luxurious Michelin quality restaurant 99 times out of 100,” Kamat was published on X (formerly Twitter). It was not just an informal food. It was a metaphor, an introduction to a larger data-backed argument about what really resonates with the Indian public-especially in a media scene that is increasingly formed through global technology and trends.

Kamath participated in a heavy visual research thread in cooperation with Finfloww, entitled “How” The alleged “Beanrot” films are called Bollywood. It was opened with an amazing contrast: the feet of cinema in India decreased dramatically during the epidemic, up to 200 million, and even in 2024, they did not recover from the peak of 945 million in 2018. However, the economy of the prosperous Indian party was.

Why? According to Kahath’s analysis: “People are attracted towards experimental and participatory activities on negative consumption.” In other words, it is no longer a night in the theater that looks sufficient – unless you offer anything raw, attractive, or tolerant.

What wins the hearts of the audience (and conservative)? Uncatential, world-class drama-but Masala films mired in a non-dance, drama and familiar ramifications. The best Indian films in the year, such as Stree 2, Bhool Bhulaiya 3, and Munjya, are low -budget projects to medium that tends to passion and strange. Kamath notes that eight out of ten films out of the ten best films in 2024 had a “unrecognized Masala” in essence – which indicates that the Indian fans are still eager to “Pisa Vasol” that mixes escaping with cultural memory.

In a surprising way, Kamath thread compared the Indian cinema path with Japanese anime. He noticed how, twenty years ago, is considered anime by many Japan. Today, the novel of the stories and the emotion of the opera has become a global gold. Western strikes like strange things now borrows heavily on the optical and narrow anime style.

His argument? Bollywood has lost its way to an attempt to imitate its western simplicity, and forget that exaggeration and Melmarama are its original language. “Instead of toning, it is time to double,” Kathath – not only for movie factories, suggested, but to build entrepreneurs in the entertainment space and live media. “The sale of Bollywood Masala, Melodrama, madness as a producer of the world.”

For Kamath, the entertainment industry-especially live events-offers a unique point for the non-personal world that appears to be around. In the era of algorithm, where screens and attention dominance, the strength of collective feelings, common laughter, and more human antique drama may be human – and profitable.

His criticism exceeds cinema. It alludes to the biggest truth about consumption in India: the quality is not always the Polish. It is important. Delicious Biryani outperforms imported truffle oil if it connects to the soul. Likewise, the chaotic and colored Masala movie may provide a meaning for the Indian family more than narrated a delicate European artistic house.

The Cathm Publisher sparked a large -scale online agreement. “The fans do not reject the cinema – they reject moderate cinema,” a user commented. Another added, “Live events provide screens that cannot – raw group energy.” Many resonated with Hanin Kamt for local, overwhelming and local experiences.