LIK, Vaa Vaathiyaar upset release schedule in K-town: Delays derail December!

For Tamil cinema, 2025 is ending much like it began — under a cloud of uncertainty. Two of the most anticipated December releases — Pradeep Ranganathan’s Love Insurance Kompany ( LIK ) and Karthi’s Vaa Vaathiyaar — have been postponed.

Anupama Parameswaran’s Lock Down also joined the list. Back in January, the last-minute shift of Vidaamuyarchi from its Pongal slot had triggered a chain reaction, forcing several films to either postpone or rush their releases.15 SMALL & MEDIUM-BUDGET FILMS AFFECTED BY LIK DELAY“Around 30-35 films suffered due to Vidaamuyarchi’s postponement back then. And now, at least 15 medium and small-budget films have been affected by LIK’s delay,” says a source, requesting anonymity.

Another source states, “If the makers had announced the postponement even earlier this month, many of these films would have been ready to release now. All along, they knew December 18 would be difficult to meet. Yet the date was announced and blocked.

At the very least, they could have freed up the slot. Now, who can release at such short notice?” Stating that “we have to acknowledge that producers face genuine challenges and we don’t know the intricacies involved,” producer G Dhananjheyan remarks, “But for the industry as a whole, these last-minute changes hurt the flow.”

He points out that the industry has already written off December. “Everyone is now looking at January, when Jana Nayagan , Parasakthi and Karuppu are lined up back-to-back,” he says.WHEN BIG FILMS SHIFT, SMALLER ONES PAY THE PRICEProducer Suresh Kamatchi explains how one major postponement can derail the entire release calendar. “When a big film suddenly backs out, another film cannot just step in overnight, finish promotions and release. It’s already difficult for small films to secure theatres.

Even when they plan to come a week after a major release, there’s no clarity on whether that film will actually release or not. Exhibitors naturally prioritise big films.

If a maker already knows there’s an issue, it’s better to resolve it first and only then announce a date.”Echoing the need for discipline, producer Sameer Bharat Ram says big films must plan better. “The bigger the star, budget and scale, the more responsibility there is to lock a date well in advance.

It’s basic logic. Abroad — and even in Bollywood — films announce release dates a year ahead and stick to them. That’s the point of mounting a large film: things should be under control. If something is going wrong, it needs to be fixed early.

This pattern is repeating far too often.”EXHIBITORS COUNT THE COSTFor theatre owners, postponements quickly translate into financial stress. Ankitha explains, “We have fixed costs — salaries, EB charges, maintenance — that continue regardless of releases.

As a multiplex, expenses keep rising, but income has been low for the past two months. We’re struggling to meet salaries and keep operations running.”CT Valliappan adds, “If a court stalls a film’s release, there’s nothing we, exhibitors, can do. Delays directly affect revenue, and we’re forced to scramble for alternative programming or continue with existing films. It’s a situation completely beyond our control.”

says Valliappan.‘The industry is navigating a reset’Offering a wider perspective, producer SR Prabhu says the industry is in the middle of a global transition. “Theatrical footfalls are fluctuating, OTT valuations are being recalibrated, and audiences have become extremely selective. Naturally, producers are more cautious while planning releases. I see this phase not as a setback, but as an opportunity — to sharpen content, improve production standards and time releases more effectively.

” Sameer Bharat Ram underlines what’s ultimately at stake. “During lull periods, bringing audiences back to cinemas takes far more effort. We can’t allow theatres to go empty and then blame viewers for not showing up.”