Mar 04, 2026 6:57pm IST
Prosit Roy Questions India’s Lack Of Support For Indie Cinema: ‘Nobody Is Supporting Art; Do We Have An A24?’ (EXCLUSIVE)
As Boong becomes the first Indian film to ever win a BAFTA, India’s ongoing relationship with independent cinema, particularly its growing presence on the global festival circuit, once again comes into focus. With the film set to release in India this week, a pressing question lingers: is the domestic ecosystem truly equipped to support independent cinema beyond the applause of international accolades?
In a recent conversation with Variety India, filmmaker Prosit Roy, known for projects like “Paatal Lok” and “Pari”, spoke candidly about what he believes is a systemic gap in India’s film industry, the absence of structured backing for art house cinema.
Referencing studios like A24 and Sony Pictures Classics in Hollywood, companies known for championing risk taking, auteur led films and transforming them into commercial and awards successes, Roy questioned why India lacks a comparable support structure.
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“But what would they do? When a film like ‘Sonchiriya’ does not work at the box office, what do the producers do? Do we have a system like Sony Pictures Classics or A24? Do we have a system like that? We don’t have a system like that. We don’t in India,” Roy said.
For Roy, the issue is not about individual films failing commercially, but about the absence of institutional cushioning for such failures. He cited titles like "Sabar Bonda” and " Jugnuma”, arguing that independent films often release on limited screens with minimal marketing support, making their commercial struggles almost inevitable.
“If by chance somebody comes up with this theory where a film like ‘Sabar Bonda’ will get a certain number of screens and will work, films like this, when they get released, they get a certain number of screens and that’s it. Which somewhat happened with ‘All We Imagine As Light’. Of course, Rana Daggubati was standing so strong,” he said, referring to Rana’s vocal support for independent cinema despite his association with blockbuster successes like Baahubali: The Beginning.
Roy believes that star intervention can play a meaningful role in altering the landscape. “Somebody like Rana, such a big actor, knows that he is also a star who comes from celebrated commercial successes, but he came and stood by art,” he added.
Drawing comparisons with Hollywood, Roy pointed to actors who strategically balance commerce with craft. “Back in Hollywood, these bigger actors would do one or two commercial films. After two or three commercial films, they would do one of these. Brad Pitt will do a big commercial film, but would also help ‘12 Years a Slave’. Or ‘Adolescence’ for that matter. But here there are no systems. Nobody comes in time. Everybody is so insecure with their own thing.”
His frustration extended to the broader industry’s reluctance to consistently back independent voices. “Nobody is supporting art,” he said bluntly, while acknowledging rare exceptions. He noted that Karan Johar recently supported Homebound, and actors like Ishaan Khatter lent their presence to projects by filmmakers such as Neeraj Ghaywan. But for Roy, such instances are sporadic rather than systemic.
“It took a decade for Neeraj to make another film after ‘Masaan’, which is the most surprising thing for me. This ecosystem needs a reshuffle,” he concluded.
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