KATHMANDU: “Audiences are supposed to buy tickets to watch films. If producers themselves have to buy them, then what is the point of making films?”
Actor Jitu Nepal, who recently ventured into film production, made the remark while promoting his latest project. According to him, distributors advised him to set aside money specifically to purchase tickets for his own film once it reached theatres.
While the experience may have felt unusual to Jitu, industry insiders say the practice itself is far from new.
Several filmmakers privately acknowledge that buying tickets for their own films has become a common strategy in Nepal’s film industry. The practice drew wider attention after producers of blockbuster Purnabahadurko Sarangi publicly admitted to purchasing tickets worth more than Rs 1.5 million.
Although few speak openly about it, producers say buying tickets has increasingly become an unofficial part of a film’s release budget—alongside artist fees, technical expenses and promotional costs.
Keeping films alive in theatres
Industry insiders say one of the main reasons producers purchase tickets is to maintain occupancy and prevent theatres from reducing show schedules.
Many Nepali films struggle with weak promotion, often limited to YouTube interviews and social media campaigns. Some films enter theatres and disappear within days with little public awareness.
When occupancy remains low, theatres cut show numbers, making it difficult for films to survive beyond the first week.
To avoid this, producers sometimes buy tickets themselves or arrange bulk bookings to make theatres appear full. The purchased tickets are then distributed among colleges, acquaintances, institutions and selected groups.
However, audiences have become increasingly aware of the practice. Despite “housefull” booking displays online, actual turnout inside theatres often appears noticeably lower.
Filmmakers also use full booking screenshots as promotional content to create an impression of strong audience demand.
The logic, according to industry observers, is simple: audiences may assume a film with high demand is worth watching.
A business calculation
Some producers argue the practice is financially more practical than spending heavily on advertising.
One filmmaker, speaking anonymously, said investing in tickets can be viewed as a marketing expense with partial returns.
According to producers, around 30–40 percent of ticket revenue returns to the producer’s side. That means a producer spending Rs 10 million on ticket purchases may recover part of that amount through the box office share.
By contrast, traditional promotional spending generates no direct return.
Still, critics say this strategy distorts audience perception and gradually damages the credibility of the industry.
There are even reports of producers assigning third parties to arrange audiences for theatres. One individual who claimed to have handled ticket buying and audience management for a producer alleged that promised payments were never made.
Box office numbers and industry prestige
Box office collection has increasingly become a matter of reputation among filmmakers and actors.
Strong collection figures are often viewed as a measure of success, while weak numbers can affect both image and future opportunities.
With the Film Development Board now publishing weekly gross collection reports, producers are under greater pressure to avoid appearing unsuccessful.
Industry observers say concerns over public perception and market positioning have contributed to the growing culture of self-ticketing.
The practice is not unique to Nepal. Similar allegations of inflated box office performance and artificial bookings have surfaced in neighboring film industries as well.
Analysts say strategic bookings may help films survive poor opening days, especially when content has long-term potential. But turning ticket buying into a regular release strategy, they argue, risks undermining audience trust and the credibility of theatrical business itself.
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