Kerala Film Exhibitors' Union To Halt Screenings From February 22

The Film Exhibitors United Organisation of Kerala (FEUOK) has announced the non-screening of Malayalam films in Kerala starting from February 22. This decision comes as a protest against the Film Producers Association and their recent initiatives regarding film releases. K Vijayakumar, president of FEUOK, highlighted the rising prices of projectors, making it difficult for theatre owners to comply with the demands of the Film Producers Association. FEUOK argues that theatre owners should have the right to choose which projectors to install in their theatres, contrary to the producers’ association’s insistence on using their content mastering unit for screenings, which would impose a financial burden on theatre owners.

The decision by FEUOK stems from producers’ continuous violation of the 42-day window period between theatrical and OTT releases. Despite protests and advocacy for maintaining this minimum screening period, producers have persistently released films earlier, prompting FEUOK to take action. This move is anticipated to impact upcoming releases like Manjummel Boys and big-budget films such as the Dileep and Shine Tom Chacko-starrer Thankamani. Films already released like Bramayugam starring Mammootty and Premalu starring Naslen and Mamitha Baiju will remain unaffected by FEUOK’s decision.

FEUOK has previously resorted to similar measures to protest against violations of OTT-window period norms. In 2023, the organisation shut down theatres across Kerala for two days, demanding an increase in the gap between theatrical and OTT releases.

The decision by FEUOK underscores the ongoing conflict between theatre owners and producers regarding release strategies and highlights the challenges faced by both parties in navigating the evolving landscape of film distribution and exhibition. As theatre owners assert their rights to choose their projection equipment and uphold established release windows, producers continue to push for flexibility in release schedules to adapt to changing audience preferences and industry dynamics. This standoff reflects broader tensions within the film industry as stakeholders seek to balance traditional practices with emerging distribution platforms and consumer demands.