These issues reflect shifts in commercial Bengali cinema. Budget constraints and a lack of pan-Indian appeal for Bengali films have hindered their growth. While other regional industries have benefited from the pan-Indian model, the Bengali film industry has capped its growth due to reluctance from financiers regarding investment, as well as a lack of vision and new ideas.

The rise of pan-Indian films poses a different challenge for Bengali films as audience preferences and industry standards have undergone a paradigm shift. Due to their overall visual appeal and scale, the average cinema-goer prefers pan-Indian films rather than smaller, regional films. Bengali commercial cinema has failed to attract suburban and rural audiences in recent years; a gap now filled by wider pan-Indian releases. Satyam Bannerjee, an independent filmmaker, explains that South Indian directors have understood the market sentiment, wherein the majority of the audience perceives cinema as a source of entertainment without being 'skeptical' about the film. Audiences have also voiced concerns over the drop in quality of current commercial Bengali films compared to those in the early 2000s – mid-2010s.

Bannerjee pointed out that during the early 2000s up to the late 2010s, many Bengali commercial films were unofficial 'frame-to-frame' remakes of other regional cinema, a trend that began in the late 1980s, aimed at reviving the collapsing industry. This went unnoticed by both audiences and the original creators due to limited accessibility. This trend has evolved exponentially post-pandemic, due to the large-scale adoption of OTT platforms. "If a particular formula has given results, then, considering financial viability, people will try to replicate that formula over and over again to capitalise on that," observed Swarnendu Acharjee, content consultant and former independent filmmaker.

The focus from suburban stories has also shifted to urban narratives, prioritising 'multiplex audience' while alienating suburban audiences and cinema halls. "Either it is very intellectual or it is very borderline," noted Swarnendu about the paradoxical storytelling in Bengali cinema. Bengali cinema has also failed to bank on regional pride influences, despite West Bengal's rich culture and heritage. Also, many of the contemporary issues in the state, like student migration for employment, corrupt governance, and law enforcement, remain largely absent from films due to legal intimidation.

The industry is a tight-knit circle with its inner workings overseen by a few major producers, actors, and directors, making it nearly impossible for newcomers to break the ice. Though there is a bustling independent scene in Kolkata, mainstream recognition is still a long shot. Arya Ghosh, an independent filmmaker, recalled watching his juniors struggle to make movies as they found it hard to afford the rentals for equipment. Studios like Shree Venkatesh Films and Eskay Movies dominate the market, with Eskay Movies owning most of the filming equipment used by the industry. This control shapes production decisions and resource allocation.

Labour guilds like the Federation of Cine Technicians’ Workers of Eastern India and the Directors Association of Eastern India have imposed restrictions on talent recruitment from other states, which has led to recent controversies. While these guilds were meant to empower technicians, internal conflicts have created a negative reputation on the national front. Jay Sen (name changed), an Indian film actor, criticised the unions, saying, "They are killing the spirit of cinema." He further added that unions ought not to extort, threaten, blackmail and sabotage production, yet the guild in Kolkata tends to do exactly that. He claims that these guilds are politicised and plagued with monopolistic practices and bureaucratic constraints, which create a 'myopic view' of everything.

Furthermore, infrastructural issues and multiplex dominance have led to lower audience participation in single-screen theatres, ultimately contributing to them phasing out slowly. The number of single screens has dwindled from 900 to a measly 100, according to a 2023 report by Hindustan Times. For commercial cinema to thrive, audience turnout is necessary for single-screen theatres due to the revenue generation they provide. The Bengali film industry, unlike its yesteryears, is awaiting a revival.

Written by Dibyaroop Ghosh, School of Communication and Media Studies, St Joseph's University, Bengaluru