Making Cinema a Shared Experience
Dilli Cine Culture is a collective working to move beyond the idea of cinema being confined to a certain class, space, or way of watching, says Siddhartha, a member of DCC.
‘For us, cinema is much more expansive. It can exist across formats, genres, and mediums and can be experienced with friends, family, or within community spaces that feel more open and accessible.’
A big part of DCC is hosting screenings, mostly in Delhi but also in other places where the experiences are intimate, people can engage with the film, discuss it, and reflect on it together. This often includes inviting people involved in the films, whether writers, directors, or actors, to be part of these conversations.
‘At its core, it’s about creating a more inclusive and shared way of experiencing cinema.’
What gap is DCC trying to fill ?
‘DCC began around August 2024 and it started with two main intentions, bridging the gap between independent & commercial cinema, and between filmmakers & audiences. A big part of this came from wanting to remove the hierarchy we often attach to cinema, where filmmakers and actors are placed on a pedestal.
We try to create spaces where people can sit together, talk, and engage with films more openly, without that distance. Without criticism and discussion, cinema doesn’t evolve. We wanted to build an environment where people can appreciate films but also question them without feeling hesitant. Since then, we’ve hosted screenings, script readings, workshops, and community events, mostly in Delhi.
One thing we noticed early on was that despite having a strong independent screening culture, many of these spaces were often empty. That really stayed with us. So another key motivation was simply to get more people to show up, to watch films, to engage, and to keep that culture of community viewing and discussion alive.’
Do you think the way people consume cinema today is changing how we understand films?
‘It definitely is. When it comes to short-form content, I don’t see it as something negative. It’s actually a gateway. It might not offer depth on its own, but it can spark curiosity and lead people to explore cinema more seriously. At the same time, it reflects how people consume content today. Many filmmakers are already using platforms like Instagram to share their work and find an audience. In that sense, it also helps democratise filmmaking, making it more accessible to both creators and viewers. So rather than resisting it, it’s something the cinema community can build on and use to guide people towards deeper engagement.’
When you host screenings or events, what matters more?
‘It’s ultimately about the people who show up. The film is important, of course, but the event is really about creating a physical sense of community. A lot of what we do online is simply to bring people into these spaces. Right now, there’s a visible shift, people are craving real, in-person connection. You can see it in how many communities are forming. In Delhi alone, there are several cinema clubs like The Big Hoom Club, FilmsAajKal and Kriti Film Club. And beyond cinema, there are football groups, run clubs, and other spaces where people come together to share something in real life. As a generation, we’re actively seeking connection beyond screens. It’s a reminder of how important the physical world still is. This is the one real world we have, and while other spaces might exist digitally, they can’t replace that sense of being present with others.
Everything we do online is really just to bring people into these shared, real-world experiences. The film brings people in, but it’s the people who make it meaningful.’
How do you ensure DCC remains an accessible and inclusive space for people to engage with cinema?
‘We want as many people as possible to be able to attend, so our screenings are intentionally priced low. Right now, our tickets are priced between 150 to 250 rupees, which includes snacks, the space, and the entire experience of watching films and meeting people. We don’t see cinema as just a commodity. It’s an experience, and it should be available to everyone, not just those who can afford it. If people stop engaging with cinema, that’s when it starts to fade, and our goal is to keep that culture alive.
At DCC, it’s not just about watching films. It’s about what happens after. The conversations, the interactions, sharing thoughts, exchanging ideas, even something as simple as connecting over what you just watched. Cinema, in many ways, reflects life, and engaging with it together makes it more meaningful. At its core, DCC is about community, which is why not all our events are just about watching films together. For example, we host ‘Dilli Cinema Sabha.’ It brings together around 40 to 50 cinephiles in one room to discuss and debate. It becomes a space to hear different perspectives and engage more deeply with cinema. Because otherwise, the experience of watching a film often ends with just that. But cinema has so many layers. Understanding those layers often comes through conversation. Not everyone interprets films in the same way, and that’s where community becomes important. You need spaces where people can exchange ideas, challenge each other, and build meaning together. That’s the idea we try to create through what we do.’
What are the biggest challenges in building something like DCC independently?
‘One of the biggest challenges is monetisation. It’s not easy, especially when multiple film clubs are working in the same space. Even though we see other film clubs as collaborators, we’re often reaching the same audience, which makes it harder for everyone. Ideally, there could be more shared spaces and collective planning to make things more sustainable, but in practice, it tends to be more individual. There’s also constant pressure to stand out, through pricing, programming, or simply getting people to choose your event. And beyond film clubs, you’re competing with other forms of entertainment and how people choose to spend their time.
Honestly, it’s not the audience’s fault. If someone can spend a similar amount on something else that feels easier or more familiar, that choice makes sense. That’s just the culture we’re living in. So figuring out how to make people consistently choose cinema, especially in a time when engagement with it is already fragile, becomes quite challenging. When people like Timothée Chalamet and Matthew McConaughey talk about cinema declining, it says a lot. I don’t think people fully realise how serious it is. People simply aren’t going to theatres the way they used to.
Cinema still holds a significant place as a medium, but today, content has taken over. And unless there’s a cultural shift in how we engage with digital consumption, that’s unlikely to change. Cinema still exists, but sustaining it is becoming increasingly challenging.’
What’s the future of cinema culture?
‘It’s very hard to predict where cinema is headed. As a culture, we’re making a lot of films, maybe more than what the ecosystem can currently support. We need to rethink how films are made. Instead of constantly scaling up, there might be value in working with smaller budgets and more intentional production. Going forward, we may need to explore new ways of making and distributing films. Not everything needs to be built for a large theatrical release. It’s also important to be clear about intent, whether you’re trying to make money or simply create something meaningful. The sooner we accept that cinema isn’t as universally accessible as it once seemed, the easier it becomes to navigate it realistically.’
What does success look like for Dilli Cine Culture?
‘For now, success is quite simple and very local. If there are 10-15 screenings happening every week across Delhi, I want all of them to be full. Spaces like Mool, Arthouse by Ekta, TOT Studio, American Center, Instituto Cervantes, Max Mueller and others should all be filled with people consistently. If we can even bring 1,500 people a week into these spaces, that’s a big win. Because if we can’t mobilise that many people in a city like Delhi, it’s hard to talk about sustaining cinema at a larger scale.
The larger goal is to contribute to cinema culture more widely, even globally. But that can’t happen unless we first build a strong, engaged audience here. That’s also why we’ve started thinking beyond just local programming. While DCC began as a hyper-local initiative, our content has reached a wider audience, which made us realise that if we want to talk about cinema at a larger level, we need to expand our approach as well.
But at the core, the goal remains the same: to keep cinema alive, relevant, and accessible, and to ensure it doesn’t become something distant or exclusive.’
