‘Daman’ demonstrated that compelling Odia stories can galvanize audiences and sustain housefull shows when given screens and time to grow, despite starting on a modest footprint. The film opened with about 43 screens in Odisha and expanded as word-of-mouth spread, underscoring that quality content can overcome limited initial distribution. As it gained momentum, it drew attention beyond Odisha, signaling clear demand for strong, local narratives told with conviction. Critically and popularly lauded, ‘Daman’ became a milestone Odia title, earning national recognition including Best Odia Film at the National Film Awards, boosting confidence across the ecosystem. Reports and coverage highlighted high IMDb ratings and packed shows, reinforcing the thesis that audiences reward authenticity and craft even without massive budgets. This pattern suggests a strategic direction: produce more films that combine rooted stories, strong direction, and disciplined budgets, then ensure they reach every viable screen. However, screen scarcity in Odisha constrains such films from achieving their true box office potential, especially outside the major urban centers. Tulip Cinemas’ portable theatre model addresses the access problem by quickly adding screens in smaller towns and blocks where permanent infrastructure lags. By distributing theatres closer to communities, the model enables ‘Daman’-like films to open wider and stabilize business with consistent shows across more catchments. This coupling—content like ‘Daman’ plus screen scale via portable theatres—can materially shift the Odia cinema curve. Producers gain confidence to greenlight similar projects knowing wider theatrical windows are feasible, while distributors can book broader runs and accelerate recoveries. Audiences, in turn, can access Odia films locally, cultivating a repeat-theatre culture critical for long-term industry health. Policy support on infrastructure and film incentives further strengthens this approach, but the execution hinge is rapid deployment and operational viability in under-screened markets. Tulip’s modular approach compresses timelines and capex, converting policy intent into functional halls and sustained occupancy for content that resonates. As more Odia films emulate ‘Daman’’s strengths—authenticity, craft, community relevance—paired with expanded screens, Odisha can rebuild a robust, audience-first theatrical market.
