Since the COVID-19 pandemic, the dynamics of the film industry have changed drastically. The Telugu film industry in particular has seen a decline in theater audiences, which led producers and distributors to increase ticket prices for major releases, usually for a week or ten days.
RRR was the first big film to adopt this strategy during the pandemic, with ticket prices hiked for ten days in the Telugu states. The same formula was later followed by other big releases like Salaar, Adipurush, Kalki, and more recently Pushpa 2 and Game Changer.
In Andhra Pradesh, ticket prices are relatively moderate—around ₹150 for single screens and ₹180 for multiplexes. Even with hikes, the maximum price reaches about ₹300. However, in Telangana, the regular pricing is much higher: ₹175 for single screens and ₹295 for multiplexes. With hikes, single-screen tickets can go up to ₹250–₹275, while multiplex tickets can reach ₹450–₹500.
This steep pricing has drawn backlash from audiences, many of whom have reduced their theater visits. The rise of OTT platforms and alternative entertainment like anime has further impacted the traditional movie-going culture. Despite these signals, industry insiders continue to justify ticket hikes, claiming they are necessary for better content or the survival of the industry.
While it is understandable for big-budget films with extensive VFX to raise prices, even regular commercial films and tier-2 projects have adopted hikes. Producers and distributors need to be more selective, ensuring that pricing strategies match the scale and appeal of the film.
A recent example showed the potential of lower pricing: a small film offered tickets at ₹99 for single screens and ₹105 for multiplexes. The response was excellent, with strong occupancy during premieres and first-day shows. However, the makers were later pressured to raise prices back to ₹150 due to resistance from exhibitors and multiplex chains.
Both producers and theater owners often claim that hikes do not fill their pockets and that theaters are running at losses, with only a few films making profits. This raises the question: who is actually benefiting from these hikes?
Audience turnout has undeniably fallen in recent years. By raising prices further, the industry risks reducing footfall even more. In earlier decades, Telugu films often ran for months, sometimes even a year. Over time, this reduced to 100–150 days, then to 6–8 weeks, and now most films run only 3–4 weeks. Even successful films earn the majority of their collections in the first weekend. If the industry continues to ignore reality and rely on hikes, the future may see films running for just a few days, or releasing simultaneously on OTT and in theaters, splitting audiences between platforms.
The Way Forward
Industry leaders should consider introducing more ticket categories in single screens, allowing audiences to choose based on their financial comfort. Telangana removed the “first class” category years ago, merging it with balcony pricing, while Andhra Pradesh still retains it. Both states now follow a three-class system, but a more flexible model with premium and budget options could help.
Producers often compare ticket hikes to restaurant price increases, but the difference is clear: restaurants offer choices ranging from luxury dining to roadside stalls. Theaters, however, charge the same price regardless of quality or ambience, leaving audiences dissatisfied. Many prefer to wait for OTT releases, where they can watch comfortably at home for a fraction of the cost.
For Telugu cinema to sustain its theatrical culture, balanced ticket pricing and audience-friendly strategies are essential.
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