Why the Future of Indian Cinema Is Short—A Conversation with Avinash Tripathi

An exclusive interview with the multifaceted biggest short filmmaker, script writer, and writer

Now a days we see that in this ear the attention spans of our youth are shrinking and the type of content which they are enjoying the pattern of consumption has been changed rapidly. There are some filmmakers who have been ahead of this curve for years, one of those is the biggest short filmmaker Avinash Tripathi, CEO of the Animesh Films (A 360⁰ media solution) ,and also the founder of the International Art, Culture and Cinema festival (IACCF).  Avinash has created more than 750 short films on tourism and social issues, long before short-form content became the industry buzzword for some Governments and private bodies. From his early days as a theatre actor-director to his current role as a script writer for OTT platforms, Tripathi’s journey mirrors the transformation of Indian cinema itself.

In this candid conversation with totalfily, the biggest short filmmaker Avinash Tripathi shares his insights on “Why brevity is the soul of modern storytelling, his experiences working across multiple media formats, and what the future holds for Indian cinema”.

Short-Form Storytelling entry in mainstream cinema

Q1: What initially drew you to short-form storytelling, long before it entered the mainstream?

Avinash Tripathi: Short films have always intrigued me because they require precision. When I began making content for the tourism and social issues segments of Doordarshan, I understood that you don’t require two hours to sway or shift the perspective of a viewer. A 10-minute short film can be more effective than a three-hour feature film if every frame is working towards the narrative.

My experience in theatre has taught me the importance of focused storytelling. When you are on stage, you have limited time and space to work your magic. This experience has translated wonderfully into short films. Moreover, working on shows such as “Aankho Dekhi” for crime reporting has taught me that sometimes the most interesting stories don’t require elaborate settings, but honest and focused storytelling.

Q2: How have your experiences across theatre, television, journalism, and cinema shaped your filmmaking?

Avinash Tripathi: Each medium has taught me something invaluable. Theatre has given me an understanding of performance and timing. As a news anchor and the bureau chief of “Aankho Dekhi,” I have learned to pick out what is important to the audience—the human element, the social relevance, the urgency.  My journalism career began with the commissioned program at Doordarshan called- Drishti” where I happened to take the interviews of various top ministers’ politicians. In the field of crime journalism, where I interviewed underworld figures and worked with leading crime journalist Baljeet Parmar, taught me about layered storytelling and the grey areas of human nature.

My film “AB BAS” on international terrorism, which received critical acclaim at various film festivals, was a direct result of my journalism background meeting my cinematic vision.

Q3: How different is writing for OTT compared to traditional cinema?

Avinash Tripathi: In theatres, the story has to be bigger than life, meant for a collective viewing, within a time frame, and with a predetermined structure. OTT, on the other hand, steps into a private domain. It is a solo experience, with the ability to pause, rewind, and reflect. This shifts the paradigm completely.

OTT writing enables the writer to delve deeper into character, have moments of quiet introspection, and have storylines that are more expansive. You are not competing with a three-hour format; you are developing a rapport with the viewer over episodes. Emotions, unspoken words, and moral ambiguities get more space here.

Cinema, as it is, has its own charm—it is all about spectacle and shared emotions. But OTT writing gives the writer the liberty to be truthful, take time, and be detailed. For me, it is not about one versus the other; it is about understanding the language of each and respecting the way stories are consumed in the current era.

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Journey as a Lyricist

Q5: You’ve written two dozen hindi songs and published over 300 poems and stories. How does writing lyrics and poetry influence your screenwriting?

Avinash Tripathi: Poetry teaches you the economy of language—every word has to mean something. When you are writing a song that is going to be rendered by stalwarts such as Shaan, Kavita Krishnmurthy ji, Kavita Seth, Anwesshaa, or Abhishek Ray, you are crafting a package of emotion. This directly carries over into writing dialogue.

In my screenplays and dialogue writing, whether it is for films or OTT platforms, I attempt to ensure that every line of dialogue has multiple functions—moving the plot forward, defining characters, and establishing mood. Poetry and songwriting have made me a better screenwriter because they have taught me the music of language, the rhythm of emotion.

Q6: As the founder of the International Art, Culture & Cinema Festival and a jury member at several international film festivals, what trends are you seeing in global cinema?

Avinash Tripathi: The democratization of filmmaking is the most thrilling trend. Technology has reached the point where anyone with a story and a smartphone can make movies. Short films, web series, and indie films are disrupting the traditional studio power globally.

I also see a thirst for authentic, local stories with universal themes. My experience judging international film festivals has revealed to me that audiences across the globe are fed up with formulaic content. They are hungry for new voices, new perspectives, and new stories that have never been told before. Short film maker like me or any filmmaker today has opportunities that were not available even a few years ago.

Inspiring Youngsters Globally

Q7: You’ve taught film studies at Amity University and regularly appear as a TV panelist. What advice do you give aspiring filmmakers?

Avinash Tripathi: So, start making films right now. Do not wait for the ideal budget, the ideal cast, and the ideal script. My 28 years of experience in theatre and my transition from a news anchor to a filmmaker have taught me that experience is the best teacher.

Start making short films. They are the best training ground for filmmakers because they compel you to be frugal with resources and storytelling. You can use your smartphone if you have to. Tell stories about your neighborhood, your community, your experiences. The world does not need more copies of successful filmmakers—it needs your voice.

Also, study the craft. Read widely, watch films from other parts of the world, learn about screenwriting structure. But most importantly, live. Cinema is derived from life, and if you are not living, you will have nothing to say.

Q8: Your column “Teesra Pahlu” in Rajasthan Patrika was very popular. What role do you think film criticism and journalism play in shaping cinema?

Avinash Tripathi: Film criticism is a way of creating an informed audience, and an informed audience is one that requires better films. When I write “Teesra Pahlu” or appear on TV as an expert on cinema, art, culture, and literature, I am not merely reviewing films. I am initiating a dialogue on what cinema can and should be.

Film criticism is a way of holding the film industry accountable for its work. It is a way of celebrating true talent and educating the audience on the art of filmmaking. My experience as a cinema columnist has made me a better filmmaker because it has forced me to continually analyze why some stories succeed and others fail.

Raising Awareness and Education

Q9: You’ve won more than 120 Awards for Filmmaking and also made several films on Social Issues. What role should cinema play in addressing social issues?

Avinash Tripathi: The most effective tool for social change is cinema because it appeals to both the intellect and the emotions. My short films on social issues, numbering over 750, were not made with the intention of winning awards because, as filmmakers, we owe a responsibility to our society.

Whether it is my film on a husband’s struggle for justice following the rape of his wife, or my documentary on underworld crime, or my next project on the Naxalite movement, these are stories that need to be told. They are uncomfortable, they question assumptions, and they hopefully inspire action.

But social cinema should not be preachy. It should be entertaining, even as it makes its point. That is what I always aim for.

Q10: Looking ahead, why do you believe short-form content is the future of Indian cinema?

Avinash Tripathi: It is because it fits the way audiences consume content today. Younger generations have been raised on the likes of YouTube, Instagram, and streaming services where they get to choose what they want to watch and for how long. A great 15-minute film can reach millions of people across the globe, spark interesting conversations, and launch careers without the need for the massive infrastructure that comes with traditional film-making.

Short films also enable greater risks in terms of creativity. You can try out new storytelling, unusual subject matter, and innovative visuals without staking hundreds of crores. My current projects in corporate films and music albums are also shifting towards shorter, more impactful content.

But the point is, shorter films don’t have to be shallow ones. The future is for those who can deliver emotional depth, stunning visuals, and engaging stories in shorter formats. And that’s what I’ve been trying to do for the last few years, and I am thrilled to see the whole industry shift in this direction.

Editorial Note

In a world of cinema that is so often fixated on box office figures and superstars, the likes of Avinash Tripathi are a completely different breed of filmmaker altogether—one in which skill is more important than size, relevance is more important than revenue, and a variety of experiences in theatre, journalism, poetry, and cinema come together to make something entirely new and unique.

With over 750 short films, several ongoing projects on OTT platforms, international accolades, and several decades of experience in every single aspect of media and arts, Avinash Tripathi is the epitome of the multidisciplinary artist that Indian cinema requires in today’s day and age. His journey from theatre to crime journalism, from the Doordarshan broadcast room to international film festival juries, is a masterclass in adaptability and evolution.

As cinema continues to break down into multiple formats and platforms, Avinash Tripathi’s early foray into short-form storytelling seems almost prophetic. Filmmakers such as Avinash Tripathi have managed to completely redefine what cinema is all about—short, punchy, and socially relevant. In doing so, they have not only predicted the future of Indian cinema but are also busy shaping it, one impactful story at a time.

Interview originally conducted by TotalFily.in

Follow Avinash Tripathi- https://avinashtripathiofficial.com