“Intelligence is …”: Nijil Kamt calls for the big budget Bollywood legend, here is what is betting on it

The co-founder of Zerodha Nichil Kamath believes that the future of entertainment may not lie in highly dispensed productions or large budget glasses-but in something more accumulated and participatory: live events. In a modern post on X, Kamath wrote, “Self-quality. Intelligence may be to know what it might succeed. For one, I will choose a good local place at Michelin-Star of luxury 99 times out of 100 times … too, building something in the field of live events may be the contradictory bet in the post-beyond world.”

The Kamath Publisher was accompanied by a series of visual images that plan the variable entertainment preferences in India since 2018.

Data shows that the presence of cinema, which was a spirit of 945 million in 2018, is not yet to those highlands-where it was more than 883 million in 2024 despite the return of large budget films.

Meanwhile, the area of the direct event: from 8000 concerts in 2018 to more than 16700 by 2025, with small coordination shows (under 2000 present) witnessed the fastest growth.

The trend reflects a deeper cultural shift. As pictures of Kamath, Indian consumers tend to experimental coordination, such as concerts, on negative consumption, such as cinema. This shift has challenged the assumptions of the long industry-that it is only the enormous glasses that could restore the masses in the OTT era.

After that, Kamath refers to a convincing vision: Most of the Bollywood Senior Parties in 2024 were not huge films of the budget, but the productions of less than 100 rupees mired in the classic “Masala” novel. These films, which provide drama, emotion and escape, were exploited in the preference of the deep audience-a reminder that for many Indians, cinema is still a way to emotional release, not intellectual realism.

On the other hand, southern India cinema maintained its cultural safety as its narrative methods expand – from the realism of Malays films to the legendary range of RRR and Kantara. These films celebrate emotion, folklore and drama without apology – raises a tendon at home and abroad.

Kamath also draws a global parallel: anime, which has grown into a global phenomenon by doubling the novel of emotional stories and an extensive increase, not mitigating them. Western offers like strange things are now borrowing from this formula. For Indian creators and founders, Kamath’s message is clear – do not relieve madness. Accordingly.

In an era in which AI redefines the digital interaction, Catat sees live, collective, and cultural experiences as the following limits – those that swing at the strengths of India, and have not been separated from them.