Filmmaker Anurag Kashyap, known for his outspoken views on the Hindi film industry, has once again taken aim at what he sees as the increasingly toxic and wasteful practices within Bollywood. Speaking on Komal Nahta’s podcast, Kashyap expressed deep dissatisfaction with the current culture of film promotions, calling them “pointless” and arguing that they contribute little to a film’s success while draining enormous amounts of money. According to him, the industry has become overly obsessed with noise rather than substance, sidelining smaller films and discouraging genuine audience-driven discovery.

A system that doesn’t give films a chance

In the conversation, Anurag Kashyap highlighted what he believes is Bollywood’s biggest flaw: the tendency to judge a film solely based on its performance in the first three days. “Kisi bhi cheez ko mauka nahi milta. Teen din ke beyond,” he said, explaining that new films rarely get time to grow or benefit from word-of-mouth.

He reflected on an earlier era when cinema halls were fewer and audiences relied heavily on recommendations, allowing films to build traction slowly. Today, he argued, the industry no longer accommodates slower-growing films. The obsession with immediate performance, supported by aggressive marketing and promotional blitzes, has created an environment where films that do not explode instantly are dismissed and pulled out of theatres prematurely.

The “Demon Slayer” and “F1” examples

Kashyap questioned the logic behind equating a film’s success with promotional scale. Using global hits as examples, he challenged the notion that heavy marketing is necessary to draw audiences. “Demon Slayer kyu chal rahi he? Kaun aya usme se promote karne ke liye?” he asked. The Japanese anime franchise, despite having no star-driven promotional events in India, performed exceptionally well based purely on audience interest and content value.

Similarly, he cited the Hollywood film F1, which saw strong box-office performance without any promotional appearances in India from stars like Brad Pitt. “Brad Pitt aya tha kya India promote karne?” he questioned, pointing out that the film succeeded without the typical Bollywood-style campaigns. For Kashyap, these examples underscore a simple truth: compelling content has the power to draw audiences without excessive marketing, and promotions cannot force viewers to watch a film they do not connect with.

“Promotion is a waste of money”

Kashyap did not mince words about the promotional culture in Bollywood. “Promotion is a lot of waste of money,” he said, arguing that budgets allocated for marketing often exceed what is necessary. He pointed out that in South Indian industries, there is an informal ceiling on how much a film can spend on promotions. This creates a level playing field and prevents larger films from overshadowing smaller ones purely through financial muscle.

According to Kashyap, Bollywood lacks such balance. “Yaha pe kisi ki capacity promote karne ki jyada he toh jyada karta he toh chota wala kho jata he,” he noted. When production houses with deep pockets spend aggressively, smaller films get buried beneath the noise and fail to capture audience attention—even when they might be stronger in content.

He criticised the industry’s fixation on size and visibility rather than creative merit. “Yaha kaun kitna bada he usi mein khoye hue hein saare ke saare,” he said, suggesting that filmmakers and producers often focus on outdoing each other instead of supporting diverse storytelling.

Industry envy and the Maddock example

Anurag commented on how success within the industry is often met not with celebration but with jealousy. Referring to the recent achievements of Maddock Films, which has had a string of hits in the horror-comedy and fantasy genres, he said, “Aaj Maddock has seen so much success, be happy! Lekin jale bhune he sab log.” According to him, rather than appreciating the studio’s accomplishments, many in the industry respond with envy and rivalry.

This culture of competitiveness, he suggested, further fuels unnecessary promotional wars as filmmakers scramble to keep up with each other, often at the expense of financial prudence and artistic integrity.

A filmmaker seeking creative freedom

Kashyap’s candid remarks reflect a broader disillusionment with Bollywood’s direction. He has long advocated for creative risks, smaller budgets and content-focused filmmaking. But he believes the mainstream system continues to push against these ideals, favouring formula, spectacle and publicity over storytelling.

His critique also ties into a recurring theme in his public statements: the shrinking space for unconventional films. Kashyap has often spoken about how mid-budget and experimental films struggle to survive within a box-office model that rewards only event spectacles or corporate-backed big releases.

Upcoming projects: from Nishaanchi to Bandar and Dacoit

Despite his frustrations, Kashyap continues to explore diverse avenues within the industry. His last directorial film, Nishaanchi, expanded his filmography with a distinct narrative, while Bandar, his critically discussed work, premiered at the Toronto International Film Festival, allowing him to reach global audiences.

On the acting front, Kashyap is preparing for his role in Dacoit, a bilingual Hindi–Telugu project starring Adivi Sesh and Mrunal Thakur. In the film, he plays a fearless cop—a character markedly different from the roles he has played in the past. The dual-language production reflects the growing trend of pan-India releases and the blurring boundaries between regional and mainstream cinema.

A call for a healthier ecosystem

Kashyap’s reflections point to a deeper desire to see Bollywood evolve into an industry where films can succeed based on content rather than marketing noise. His comments echo a rising sentiment among filmmakers and actors who believe that the current system disproportionately benefits big studios while stifling creativity and innovation.

The call for a promotional ceiling, audience-driven growth and recognition of smaller films is part of a broader push for balance in the industry—a push that Kashyap continues to champion.

If you want, I can also prepare a concise 500-word version, a breakdown of Anurag’s main arguments, or an analysis of Bollywood’s promotional economics.