Call it the effect of the booming OTT business or a change in Bhutanese moviegoers’ taste for films, the Bhutanese movie industry which was once a thriving business is now struggling to attract audiences. According to the Film Association of Bhutan, FAB, the number of audiences coming to cinema halls has declined drastically in the last three years. Movie theatres remain mostly closed and film producers are bearing losses in millions of ngultrum.
The City Cinema Hall 1 at Chhubachhu in Thimphu is currently screening ‘Nge Sugar Mommy’ since Sunday. The producer of the movie says it is currently attracting a decent number of audience and she plans to screen the movie as long as people turn up for the movie.
Had it been some three years ago, the movie would have been screened for at least a month at the same hall.
Hundreds of audiences would fill the cinema hall and producers made on average Nu 5 M in profit. But now, only fewer people are going to theatres.
According to FAB, the movie theatres become almost empty after a week of screening, not even recovering the initial investment made during movie production.
Going by reactions from Bhutanese moviegoers, OTT platforms, which have made it easier for them to access personalized content from the comfort of their homes, have also affected the business of Bhutanese film-makers screening in theatres.
“I watch Bhutanese movies on OTT platforms. When we were small we used to go to theatres to watch movies. Now, we have OTT platforms. I think people no more visit cinemas,” said Tshering Dorji, a resident of Thimphu.
“Whenever I get time, I make an effort to watch Bhutanese movies in theatres. However, it seems that fewer people are attending movie screenings at theatres compared to the previous year. This is likely due to the emergence of OTT platforms such as Samuh and Shangrila. They are convenient and save time for viewers,” said Sonam Wangmo, a resident of Thimphu.
A filmmaker invests more than Nu 4 M on average in producing a movie.
“Especially post-pandemic, the number of audiences has drastically decreased. We rely on ticket sales for our income and since the number of the audience has decreased it has impacted the business. We cannot blame the OTT platform completely because like in other parts of the world, OTT has been a complimentary source of income for the producers. Bhutanese films face international comparisons, leading to high expectations. This is something that we are striving for,” said Dorji, a Producer at Dorjigs Production.
Data with BICMA shows that a total of 25 films were certified to screen in 2023, 15 films in 2022 and 16 films in 2021.
FAB attributes decreasing audiences to the poor screenplay and cinematography in Bhutanese films.
FAB’s Executive Director Tashi Dendup said, “For the film to have a success, good storytelling with proper colour grading and sound is of paramount importance. We urge Ministries and Departments to collaborate with the film industry to provide training for sound grading and colour grading.”
Meanwhile, the film directors and producers say Bhutan lack quality cinema halls across the country for movie screening. Currently, only Thimphu and Paro have proper movie theatres.
Kinga Tshering, a film director said, “When I reached out to some audience they said it’s the theatre’s condition that discourages them from going to the cinema. During summer, air conditioning is necessary, and in winter heaters are needed. The theatre services are not up to the public expectations. Therefore, I believe despite our best efforts to promote films, the inadequate theatre services undermine our film production.”
The Film Association of Bhutan says the success of a movie involves creativity, excellence, and effective marketing. Hence, to entice viewers and revive the culture of going to theatres, the Association says the industry has to improve film qualities with a well-crafted screenplay, invest in high-quality visuals and cinematography and develop infrastructure to screen movies.
Interns (Tshering Wangmo, Pema Seldon, Tshering Yuden, Sherab Yangchen)
Edited by Sangay Chezom
