The distributor has a strategic position and is capable of even controlling the industry because he is the link between the two processes of production and marketing of the films. Many low-budget films addressing socially relevant issues were not accepted by distribution companies. These risks are mostly faced by small banner movies or movies with low profile actors and actresses, from whom the perceived gain of screening the film is low. However a distributor often dictates terms and conditions to the producer regarding theme, cast etc., of the film in an attempt to pamper the tastes of a large audience which often lead to degradation of the quality of the film. This is a major problem currently faced by Indian language films. Every year hundreds of films close their journey unopened. The producer cannot find a distributor for his film. Distributors reject these films because they do not find commercial spicy entertainment element in those films. International Distribution Historically Indian films are very popular in Asian countries, Arab countries, Russia and African countries. Despite the restrictions imposed in the 1990s by the Taliban, Afghanis love to watch Bollywood films. Bollywood films rules have huge fans in Iran, Pakistan, Bangladesh, Sri Lanka and Nepal. Bollywood has a strong hold in South East Asia in countries such as China, Indonesia and Malyasia. The fascination of Bollywood came to light in China during the Dilip Kumar era, a popular icon of the yesteryears. From early 1950’s Bollywood films were well received in USSR, especially Raj Kapoor’s film. According to Ashok Sharma, Indian Ambassador to Surinam. “The popularity of Bollywood in the CIS dates back to the Soviet days when the films from Hollywood and other Western countries were banned in the Soviet Union. As there was no means of other cheap entertainment, the films from Bollywood provided the Soviets a cheap source of entertainment as they were supposed to be noncontroversial and non-political. In addition, the Soviet Union was recovering from the onslaught of the Second World War. The films from India, which were also recovering from the disaster of partition and the struggle for freedom from colonial rule, were found to be a good source of providing hope with entertainment to the struggling masses. The aspirations and needs of the people of both countries matched to a great
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