Anurag Kashyap’s latest complaint about theatrical show allotment has reignited an old fault line in the film business, but this time, his argument comes with an uncomfortable contradiction. The filmmaker objected to Obsession getting more daily shows than Indian titles like Bandar and Main Vaapas Aaunga, yet the economics of exhibition make that frustration difficult to defend.
In his post, Kashyap wrote, “I totally understand that everyone wants to see OBSESSION, but it can still run longer with lesser shows. If we don’t prioritise our own films with better showcasing, then I don’t understand how will we grow (sic).” He also added, “Last week it was with Bandar, this week with Main Vaapas Aaunga, Sing Geetham and Governor.. while Obsession is in 6-7 shows (sic).”
Show Counts Follow Ticket Demand, Not Filmmaker Sentiment
Kashyap’s frustration is understandable on an emotional level. Smaller Indian films often struggle for visibility, especially when a buzzy genre title begins pulling in audiences. But theatres do not schedule films as a gesture of solidarity. Multiplexes and single screens calibrate shows around advance bookings, occupancy, genre appeal and immediate audience response.
That is why the comparison with Obsession loses force. If one film is generating stronger curiosity and converting that into admissions, exhibitors will back it more aggressively. This is not a verdict on the artistic worth of Bandar or Main Vaapas Aaunga. It is simply how the business works.
Horror Has Become One Of The Strongest Theatrical Hooks
There is also a genre factor Kashyap’s criticism overlooks. Horror has become one of the most reliable theatrical draws worldwide. In recent years, titles like Talk to Me, Longlegs, Smile, Hereditary and films from The Conjuring universe have shown how effectively fear-driven stories can bring audiences into cinemas.
Obsession has connected with that appetite. For viewers seeking a communal, high-tension big-screen experience, horror offers a clearer theatrical pitch than many serious, auteur-backed dramas. That commercial edge does not automatically make it superior as cinema, but it does explain why exhibitors have leaned into it.
Kashyap’S Own Content First Argument Cuts Both Ways
The deeper irony lies in Kashyap’s long-standing position on cinema itself. For years, he has argued that films should rise on the strength of content rather than hierarchy, packaging or legacy advantage. By that logic, a smaller horror film securing stronger audience interest is not a distortion of the system. It is proof that audience connection remains the decisive factor.
The sharper debate is about how independent Indian films can create urgency in theatres without framing another film’s success as the problem. In a crowded market, even acclaimed titles need a compelling reason for viewers to step out and buy a ticket.
Obsession is a horror film that has benefited from genre momentum and audience curiosity. Bandar and Main Vaapas Aaunga, the titles Kashyap cited, represent the continuing challenge faced by non-mainstream releases trying to turn creative credibility into theatrical traction. Kashyap’s larger concern about space for independent cinema is valid. His comparison with Obsession is where the argument weakens.
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