As Indian cinema evolves and stories explore new locations, Gaurav Dwivedi , a film policy advisor and a key figure in shaping India’s film framework, strongly advocates for a ‘One Nation, One Film Policy’.
Gaurav, who has served as the vice-chairman of the Uttar Pradesh Film Development Council and as advisor to the state govt on tourism and film policies in Madhya Pradesh and Chhattisgarh, believes such a policy is essential to address disparities among states and bring a cohesive approach to filmmaking across the country.
“Definitely, India needs a One Nation, One Film Policy because there are certain states doing well in terms of their film policies, while others lack the financial resources or proper frameworks,” Dwivedi says.
He believes that many states do not have the means to offer subsidies, skill development, or employment opportunities, making it harder for them to attract filmmakers.
“By implementing a unified film policy,” Dwivedi asserts, “India can create an equal platform for filmmakers across the country, allowing them to explore diverse locations, showcase India’s flora, fauna, and tourist attractions, and bring a new dimension to Indian cinema globally.”
Dwivedi suggests that a national policy will provide greater incentives to filmmakers.
“Filmmakers flock to locations that offer financial incentives and ease of doing business, without the red tape and high costs of shooting. A more accessible policy would promote higher technology, better storytelling, and create more employment opportunities for writers, technicians, spot boys, and local actors,” he says.
“There are some states such as UP and MP that are excelling with their film policies while other states are struggling. There is a lot of shooting happening lately in Uttar Pradesh and Madhya Pradesh. With these policies coming in, filmmakers can explore more cities, states and the locations they have to offer helping the storytellers,” he says.
He gives an example of Prime Minister Narendra Modi’s visit to Lakshadweep, which was marketed as a tourist destination, successfully competing with the Maldives. “PM Modi spent time promoting Lakshadweep, and with proper branding, it could rival international destinations. Similarly, a unified film policy would give filmmakers the opportunity to explore lesser-known destinations in India,” Dwivedi adds.
The idea of a single film policy comes with the potential for helping states having limited resources. For instance, states like MP, UP, and Chhattisgarh offer significant subsidies, but smaller states with fewer resources struggle to compete. A unified approach ensures equitable distribution of opportunities.
“Every state has its own uniqueness to offer,” Dwivedi says, giving an example of web series ‘Paatal Lok’, which was shot in Nagaland, emphasizing how diverse locations can be utilized in filmmaking if all states benefit equally from a unified policy.
According to Dwivedi, a financial model where the central govt contributes 60% of the subsidies, and the state govts contribute the remaining 40%, would be ideal. “The central govt would act as the big brother, pooling in 60% of the finances, while states would contribute 40%. This would help states save money and create a sustainable, equitable system,” he says.
He adds that the industry’s support for a unified policy is growing. “I’ve spoken to many filmmakers, and they all agree that there should be one simplified policy. They want ease of doing business, without having to navigate multiple state policies for subsidies,” he shares.
Dwivedi emphasizes that a unified film policy can help position India as a leader in global content production. “The Prime Minister is already promoting the concept of ‘One Nation, One Tax’. Why not extend that to film policy as well? India has the potential to be the king of content creation,” he says. Gaurav believes that one central policy will ease the filmmaking process.
“Today, content is king, and there are numerous platforms like OTT, YouTube, and theatres where filmmakers can showcase their work. With a unified policy, filmmakers won’t be tangled in state-specific rules. One central dashboard where filmmakers can apply for subsidies and shoot without worrying about multiple state policies would make it much easier,” he explains.
Asked if a uniform film policy would eliminate competition among states, Dwivedi responds, “There are a lot of stories to be told in different locations and topographies. The onset of this policy will likely eliminate disparities. Currently, states like Madhya Pradesh, Uttarakhand, and Uttar Pradesh have emerged as the most film-friendly states. However, there may come a time when places like Andaman and Nicobar or Lakshadweep, where more films are being shot, can compete well for awards. Most smaller states lack a proper film policy, hindering their ability to compete for awards at the National Film Awards. If implemented, it could shape the future of Indian cinema for years to come.”
Gaurav, who has served as the vice-chairman of the Uttar Pradesh Film Development Council and as advisor to the state govt on tourism and film policies in Madhya Pradesh and Chhattisgarh, believes such a policy is essential to address disparities among states and bring a cohesive approach to filmmaking across the country.
“Definitely, India needs a One Nation, One Film Policy because there are certain states doing well in terms of their film policies, while others lack the financial resources or proper frameworks,” Dwivedi says.
He believes that many states do not have the means to offer subsidies, skill development, or employment opportunities, making it harder for them to attract filmmakers.
“By implementing a unified film policy,” Dwivedi asserts, “India can create an equal platform for filmmakers across the country, allowing them to explore diverse locations, showcase India’s flora, fauna, and tourist attractions, and bring a new dimension to Indian cinema globally.”
Dwivedi suggests that a national policy will provide greater incentives to filmmakers.
“Filmmakers flock to locations that offer financial incentives and ease of doing business, without the red tape and high costs of shooting. A more accessible policy would promote higher technology, better storytelling, and create more employment opportunities for writers, technicians, spot boys, and local actors,” he says.
“There are some states such as UP and MP that are excelling with their film policies while other states are struggling. There is a lot of shooting happening lately in Uttar Pradesh and Madhya Pradesh. With these policies coming in, filmmakers can explore more cities, states and the locations they have to offer helping the storytellers,” he says.
He gives an example of Prime Minister Narendra Modi’s visit to Lakshadweep, which was marketed as a tourist destination, successfully competing with the Maldives. “PM Modi spent time promoting Lakshadweep, and with proper branding, it could rival international destinations. Similarly, a unified film policy would give filmmakers the opportunity to explore lesser-known destinations in India,” Dwivedi adds.
The idea of a single film policy comes with the potential for helping states having limited resources. For instance, states like MP, UP, and Chhattisgarh offer significant subsidies, but smaller states with fewer resources struggle to compete. A unified approach ensures equitable distribution of opportunities.
“Every state has its own uniqueness to offer,” Dwivedi says, giving an example of web series ‘Paatal Lok’, which was shot in Nagaland, emphasizing how diverse locations can be utilized in filmmaking if all states benefit equally from a unified policy.
According to Dwivedi, a financial model where the central govt contributes 60% of the subsidies, and the state govts contribute the remaining 40%, would be ideal. “The central govt would act as the big brother, pooling in 60% of the finances, while states would contribute 40%. This would help states save money and create a sustainable, equitable system,” he says.
He adds that the industry’s support for a unified policy is growing. “I’ve spoken to many filmmakers, and they all agree that there should be one simplified policy. They want ease of doing business, without having to navigate multiple state policies for subsidies,” he shares.
Dwivedi emphasizes that a unified film policy can help position India as a leader in global content production. “The Prime Minister is already promoting the concept of ‘One Nation, One Tax’. Why not extend that to film policy as well? India has the potential to be the king of content creation,” he says. Gaurav believes that one central policy will ease the filmmaking process.
“Today, content is king, and there are numerous platforms like OTT, YouTube, and theatres where filmmakers can showcase their work. With a unified policy, filmmakers won’t be tangled in state-specific rules. One central dashboard where filmmakers can apply for subsidies and shoot without worrying about multiple state policies would make it much easier,” he explains.
Asked if a uniform film policy would eliminate competition among states, Dwivedi responds, “There are a lot of stories to be told in different locations and topographies. The onset of this policy will likely eliminate disparities. Currently, states like Madhya Pradesh, Uttarakhand, and Uttar Pradesh have emerged as the most film-friendly states. However, there may come a time when places like Andaman and Nicobar or Lakshadweep, where more films are being shot, can compete well for awards. Most smaller states lack a proper film policy, hindering their ability to compete for awards at the National Film Awards. If implemented, it could shape the future of Indian cinema for years to come.”
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