c
 



A REPORT
ON
MARKET SHIFT FROM
MINIPLEX TO
MULTIPLEX IN AHMEDABAD

By
HARDIK. H. SHAH (09bs0000834)
ICFAI BUSINESS SCHOOL
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˜


I, hereby declare that the Project titled, ³A REPORT ON STUDY OF SHIFT FROM MINIPLEX
TO MULTIPLEX IN AHMEDABAD´ is original to the best of my knowledge and has not been
published elsewhere. A report is submitted in partial fulfillment of the requirements of MBA
program of ICFAI Business School.

I also declare that this project is the result of my effort and has not been submitted to any other
University or Institution for the award of any degree, or personal favor whatsoever. All the
details and analysis provided in the report hold true to the best of my knowledge.

Submitted To:
Mr. Kamal Shah
Prof. ICFAI Business School

Place: Ahmedabad Hardik H. Shah

Date: 15/11/2010. ICFAI Business School
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A
  

The successful completion of summer internship project report would not have been possible
without the co-operation of our Institute, Faculty, Organization and friends.

I forward my gratitude to our faculty guide ± Professor Kamal Shah for their support and
motivation. I also extend my thanks to the owners of Multiplexes for the valuable guidance in the
making of this report.

Hardik H. Shah

(09bs0000834)

ICFAI BUSINESS SCHOOL


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ABSTRACT

India currently has 11,500 existing screens, out of which 95% are standalone single screens.
These single screen cinemas are poorly maintained as the owners find it difficult to upgrade and
renovate their facilities, due to unavailability of organized finance. The deteriorating quality of
these cinemas discontinued the viewers and they started using alternative viewing options.

One of the fastest growing sectors of the economy is entertainment industry. Entertainment today
dictates our lives, education, careers, earning money, all lead to the quest for higher and
sophisticated entertainment. One seeks knowledge to improve the quality of life. The quality of
life improves when the basic requirement of life are supplemented with entertainment in some
form or other.

The industry is characterized by seasonality, low screen density, increasing average ticket prices,
and reducing shelf life of movies. The key trends identified include producers bypassing
distributors, shift to digital cinema, and alternate content in multiplexes, retail partnerships, and
new single screen formats. The competitive landscape identifies and compares the major
multiplex operators in the market since they dominate an industry where single screen cinemas
are highly fragmented. Comparison parameters include number of screens, number of cinemas,
footfalls and occupancy ratio.

Y
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O OCUTIVO
SUMMARY

Ahat is Multiplex?

Multiplex is a medium that offers a person composite entertainment comprising of a one stop
destination to shop, entertain, and dine and watch a Varity of movies under a common roof.
Multiplex are one of the means of lifestyle that offer to viewers the choice of watching a movie
in a five star or three star environments.

First Multiplex in Ahmedabad was Fun republic which opened at S.G.Road at a time where the
tax rebates was there for the first 5 yrs and currently there are above 11 Multiplex.

The Multiplex model is based on concept of umbrella entertainment built around a primary
anchor- movie. The revenue streams, however, do not necessarily center on a single anchor.
Typically, the possible income generating channels in a Multiplex can include:

Y The box office Collection

Y Rent from Display System

Y Food and Rentals

Y Product Launch Rentals

Y Promotions and Parking

Ahat is Miniplex?

Miniplex is a single screen theatre. It¶s also called Cineplex. It doesn¶t have an umbrella
kind of income generation facility. The main source of Income comes from the movies and the
secondary from the parking. The income generation is limited as it doesn¶t offer the add-on
facilities.

The first Miniplex in Ahmedabad was Chandni and currently there are 81 Miniplex registered in
Ahmedabad. The industry is blossoming as the Multiplex. The Middle Cinemas that are the
Single screen which not updated them are suffering the most.
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ROSOARCH
MOTHO˜OLOGY

The research is to be done with the regards to Miniplex and Multiplex of Ahmedabad. So the
entire study is about the Entertainment Industry of Ahmedabad.

Ae tried and study the Miniplex and Multiplex working and even tried to understand the
consumer behavior of the Entertainment Industry in Ahmedabad. I tried to study the Miniplex
and Multiplex facilities and the enhancement in the offering from both the side.

Consumer behavior effects majorly on the demands for the cinema industry. Ae have tried to
understand the consumer behavior by doing interviews and trying to understand the consumer
attitude towards the entertainment industry scenario.

The research was also done on the past projects which were made on the Entertainment Industry
in Ahmedabad.

The study will undertake the Multiplex of Ahmedabad and the Miniplex of Ahmedabad.

LIMITATIONS
OF
THO
RO
ORT:
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G 

L

The project has a limitation on geographical base as evaluation
will be about the market of Multiplex and Miniplex of Ahmedabad.

L

 

R : - Entertainment industry is very big which encompasses thousands of
products. The report is going to talk about only Multiplex and Miniplex Industry and not every
product of the Industry.

TARGOT
AU˜IONCO

yY This report is targeted to all the Multiplex and Miniplex Owners and people who are
associated which are already there in the Ahmedabad market.
yY The report will be helpful for any individual as well as corporate companies.
yY The report will be helpful for the potential companies which are planning to make their
mark in Ahmedabad.

INTRO˜UCTION

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A multiplex is a movie theater complex with three or more screens. The largest of these are
sometimes referred to as Multiplex (Megaplex). Definitions vary (the border between the two
may be 12, 16, or 20). Multiplex theaters sometimes feature stadium seating and other amenities
often not found at smaller movie theaters. Multiplex theatres nearly always feature regular
seating; however, the screens are nearly always smaller than those found in movie palaces.

In each town, a multiplex would often put the town's smaller theaters out of business. They were
often coupled with other big box stores that were reaching their zenith at the time. The expansion
was executed much too quickly, and almost all the major movie theater companies went
bankrupt at this time, although the daily operations of the local theaters were not much affected.

For several years the world's largest theater was the 18 screen Cineplex in Toronto's Eaton
Centre. The world's first 20 screen Multiplex is Studio 28 in Grand Rapids, Michigan, which
reopened in 1988 with a seating capacity of 6,000. The first multiplex in the world is the
Kinepolis Brussels in Brussels, Belgium, which opened in 1988 with 25 screens. The first
multiplex in the United States is the AMC Grand built in 1995 with 24 screens.

Studio 28 and the AMC Grand 24 sparked a wave of Multiplexes across the United States. This
was financed in part by private equity money and caused a dramatic shift in the American urban
landscape. AMC Theatres has since then led the way and has built many Multiplexes with
upwards of 30 screens.

The largest Multiplex in the Southern Hemisphere is the 26-screen Multiplex Marion in
Adelaide, South Australia. The auditoriums sit on top of Aestfield Marion, which is the largest
shopping complex in Adelaide.

MULTI
LO
SCONARIO
IN
IN˜IA
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In India, the mushrooming of multiplexes since the mid-90s has changed the dynamics of the
Indian Film Industry. Production costs are now recovered in days, not months and viewers have
really caught on to the concept. There have been concerns over high ticket prices and the
phenomena has predominantly been restricted to the larger cities, but Indian cinema chains like
PVR (Priya Village Road show), Inox and Cine Max are slowly but surely changing the rules of
exhibition in the world's largest film industry.

IT is unlikely that India¶s experience with the multiplex form of cinematic exhibition can be
comprehended without understanding the mechanisms of the liberalized economy in which it
emanated. But to locate its persona and impact as being solely the affections stemming thereof
would in some ways amount to a limited and inadequately informed view. Since its inauguration
in 1997, the Indian multiplex experience has been smattered with instances that stand in
opposition to its immediate environs. Incoherent, inconsistent, possibly transitional yet
aggressively attentive, these lend to it markings of an indigenous, self-derived and developed
nature.

Though patterned along the µshopping mall¶ model of the multiplex as developed and prevalent
in the Aest, and sustained by the retail boom unleashed by the economic liberalization policy of
1991, the Indian multiplex site sports all the features of an up-market turf. It has aligned with and
extended the transformation of India¶s urban milieus being re-visioned within the framework of
consumerism. The multiplex¶s steady proliferation in the metropolis¶s and simultaneous
penetration into some smaller cities and towns testifies to its increasing popularity, coinciding
with the rise of disposable incomes in the hands of the urban Indian family.

But in terms of its exhibit, i.e. the films on its screens, it makes for a space that mirrors a
complex cinematic multiplicity. The increasingly curious mix of parallel, regional and art cinema
along with the mainstream, both domestic and foreign, is what distinguishes most multiplexes in
India, such that the Indian multiplex has come to position itself, not so much by identifying with
particular kinds of films, as by being a theatre for accessing the µlatest¶ from a wide spread of
cinematic fare ± mainstream or fringe ± in comfortable, colorful and inviting surroundings.

Ahile the former, mostly Bollywood films which, given their steadily improving production
quality and contact with newer territories, especially overseas markets, aligned quickly with the
multiplex¶s swanky appearance, the latter too, mostly low budget, non-narrative films, easily if
not as promptly, penetrated into the multiplex without bearing any proximity with the site or its
vicinity which is enlivened with an array of branded local and global products and services.

The multiplex intervention, as of the moment, can be termed as appropriating varying audience
segments to stabilize and secure its own position, establish its distinction and engage the
audiences in a varying film viewing exercise. It has emerged as comprising a mix of seemingly
contradictory strains wherein central and peripheral tendencies coexist. Taking cues from each
other, multiplexes all over the country are making for variables that don¶t just originate in, or
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correspond with, the existing common needs of their audiences, but have also identified and
accommodated overlapping tastes and preferences by readying access to fare, which may have
previously been considered as lacking numerical encouragement vital for profitability.

Most art films and much of parallel cinema have usually faced reluctance from distributors and
exhibitors alike. Given the limited response they face, bodies like the National Film
Development Corporation (NFDC) have regularly stepped inY to support them financially
alongside promoting them at foras like film festivals and national network television. Their
penetration into the multiplex can first be located in simple mathematics ± the proliferation of
screens, enhancing access to films. More important than simply the number of screens is the fact
that even though more cinemas are getting converted and new multiplexes are being set up, the
number of seats has not increased in equal proportion. It is only when new multiplexes are
constructed that seating capacity has recorded an increase.

Ahile the capacity at a single screen cinema is usually in the region of 850 to 1000 seats, or
sometimes a little over that, a single screen in a multiplex seats a far smaller audience, because
when a cinema is converted from one to multiple screens the seats get divided among them,
though not equally. Anupam PVR, India¶s first
multiplex situated in Delhi, was converted to four
screens, two with a capacity of over 300 seats and the others with 150 seats.

The pattern continued, shaping into a trend, with the result that even when a new multiplex is
constructed the seating capacity per screen rarely parallels that of a single screen hall.
Consequently, the number of admissions per screen stands far reduced at the multiplex.Y
However, though non-mainstream films are unlikely to attract audiences of the size as a
conventional Bollywood film would, their showings are still lucrative because the numbers they
command constitute a greater, more competitive marginal value.

Further, the multiplex has not followed the conventional 12-3-6-9 time schedule as prevalent in
most cinemas. This created opportunity to schedule and programme films on the different
screens. The ability to manipulate schedules allowed for films of varying lengths to be
accommodated. Since non-mainstream films are of varying lengths and usually shorter than an
average feature, they could easily be integrated in the multiplex¶s film menu.

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ROBLOMS
TO
MULTI
LO

Multiplexes have charted cautiously in relation to industry films. In relation to Bollywood,

multiplexes have not depended entirely on conventional films as they are in any case competing
with the single screen cinemas which draw larger audiences. This is not only because they have a
greater seating capacity, but because they are more accessible. They usually outnumber
multiplexes, are located within easy reach and, more importantly, offer the same product at a
lower price.

Besides, a thriving video piracy industry coupled with a deep penetration of cable television,
meant that the multiplex settled for exhibiting selected films ± usually the awaited, big budget,
publicized, mostly familial films. These films coincide with the multiplex¶s redefinition of
cinema as a family outing comprising other amenities like food and games. Since it needs only a
section that would guarantee a sell out of its limited seats being offered at a higher rate, it tends
to exclude the average Bollywood film. But in so doing it has managed to elicit viewership from
upper class segments, who previously may have held reservations towards cinema going, given
the lack of facilities like air-conditioning, upscale interiors and so on.

In relation to Hollywood films too, multiplexes find themselves playing on limited ground as
releases in non-western territories are usually a couple of months after the film¶s release in home
territories. And the access to films through DVDs before a theatrical release (at least in
metropolis¶s) has implied a replication of the approach as adopted towards Bollywood films.

Initially, multiplexes were projected primarily as theatres for English films. That changed soon,
because despite their popularity English films are rarely accessed by non-English speaking,
illiterate and non-affluent audiences. These films seldom transcend metropolis¶s and large cities
and, on the screens, they compete for space with films from a flourishing native industry that
appeal to a wider audience. The apprehension towards foreign films is not determined by the
urban or linguistic divide only. Aithin the different income regions of say a metropolis itself,
one finds multiplexes located in posh localities exhibiting foreign films along with substantial
numbers of non-mainstream films. However, when located in the lower income group areas,
multiplexes get smaller, being composed of fewer screens and English films (mostly well
advertised ones) constitute a smaller portion of the assortment.

As one moves away from the Hindi heartland, the film menu tilts correspondingly in favour of
native languages and no longer reads bilingually (i.e. comprising only Hindi and English films).
Neither is it always trilingual, say in cities like Mumbai and Delhi, or regions such as South
India. Here films in the immediate native language get complemented with those from other
regions, in differing dialects.
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Aith the multiple screens accommodating a spillover of linguistic access that may be rooted in a
host of factors ± education, migration, employment and training or just proximity ± this gets
converted into overlapping cinematic preferences. The variation is not simply of language, but
extends to genre as well, including treatment in relation to content and construction in terms of
form.

Responses at the multiplex to the non-mainstream films have not been completely negative. In
fact, a few low-budgets, non-mainstream films, despite a cast comprising prominent film stars,
could only secure screening at multiplexes in some territories. Such a trend coupled with the
entry of vernacular films into non-native regional territories, and an active Indo-western
intersection has also facilitated the entry of non-mainstream English and non-English foreign
films into some multiplexes.

The multiplex also constitutes the primary site for the increasing territory of films directed by
overseas Indians, whose representations span both the Indian diaspora and the home-land.
Sociological in their orientations while dealing with the diaspora, these present traditions and
lifestyles as altered by being away from the homeland; and in terms of the homeland, they
highlight native habits and attitudes as seen from a µforeign¶ eye. Explicated mostly in humorous,
familial scenarios that involve the play of customs and rituals along with the essential element of
entertainment materializing in song and dance, these films are developed along non-native
patterns of construction, aesthetic and language.

Their duration too is a variable, almost always under three hours. Despite being located within
the native community and thus being readily decipherable, they too like other foreign films have
enjoyed limited appeal not extending beyond the largely educated audience that¶s bilingual and
enjoys familiarity with diaspora experiences and attitudes. Though films surrounded with more
publicity are played at a few single screen halls as well, the multiplex is more promptly
identified with non-native cinema. Add to that the fate of films like

 (1997), and the
polarization between the single screen and multiplex cinemas stands further sharpened.

Given the fast pace of its spread, its acumen towards cinema of diverse kinds and a long
gestation period, central and state governments are encouraging major investment and offering
sops to investors and developers who comprise real estate entities, film exhibitors and
distributors, film processing companies and media conglomerates. But the concessions are
accompanied with conditionality¶s aimed to prevent concentration of multiplexes in select
regions and in some cases to promote regional cinema. A microcosm of retail culture including
significant portions of global brand names, the multiplex site makes for the kind of up-beat
location that coincides with government attempts to alter conventional images and all that
compliments the bandwagon. It also enables foreign tourists to access cinema.

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SHIFT
IN
THO
VIOING
O
ORIONCO
The preponderance of single screen cinemas has not come in the way of screening critically
acclaimed foreign films from time to time.

Second, in the backdrop of a film industry steeped in financial crisis, the small budget and
independent films have received considerable approval and encouragement when compared with
the industry product. Aith off-beat content and newer forms, their slice of the cinema is
expanding. For them too, the multiplex constitutes a crucial exhibition space, given that they
target specific rather than mass audiences.

Third, and to further unpack the possibilities at the multiplex, a brief recap of the functional
impulse/s for it is vital. Upon introduction of liberalization, retail chains emerged and expanded
as the momentum of consumerism slowly rose. Consequently, retail spaces steadily gained
premium over commercial ones. Strategies to cover costs had to be revised. Ahile rethinking
products, prices and efficiency, retailers linked promotions, fun and entertainment to penetrate
bigger chunks of the market and secure customer loyalty through customization.

In a climate of alliances and add-ons like food joints, the concept of holistic family entertainment
experiences gained patronage. In such a scenario, the immensely popular leisure activity far
older than television in India ± cinema ± suffering from inadequate exhibition facilities
intersected with aggressive retailing and helped prompt the multiplex. This served to revive the
diminishing cinema going habit by enticing audiences away from their television sets, with their
clutter of imagery from all over the world drawing upon the cable and satellite boom. The desire
for the image now combined with other leisure activities and occupations.

Once in place, the multiplex developed a counter to the unitary propensity of the single screen
hall, founded on exclusion, perpetuating homogeneity and cultivating committed audience
segments. Ahile single screen cinemas identify themselves with films of particular kinds, say the
HindiY Yand blockbuster, the English, or the porn movie, the multiplex has capitalised on
an inclusive tendency to motivate and assemble diverse audiences.

On the one hand it has contained the influence of embourgeoising forces within its edifice,
allowing on its screens the interplay of alternative and mainstream or conventional strains.
Further it has limited contact with the Aest to no more than the fashioning of its site, preventing
the hegemony of either Hollywood blockbusters as the result of a partial global encounter, or
conventional Bollywood films that enjoy a pan-linguistic and cultural appeal cutting across
regional, religious, class and other variants. On the other hand, it has remained an urban, largely
middle and upper middle class leisure pursuit, with its highly priced tickets excluding the masses
crowded in the lower regions of the income graph.
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Ahile the masses take to cinema readily, given their financial capacity and lack of identification
with the plush appearance, products and services at the multiplex ± in any case targeted at the
socially and economically mobile sections ± this numerically significant chunk of audience has
remained confined to the outer edges of the multiplex experience. And it is unlikely that the
dynamics of the multiplex in its present 
will manage to secure their participation.
Spatially too, multiplexes can mostly be spotted in affluent neighborhoods, within the easy reach
and concentration of young audiences.

So far a nascent experience, the number of multiplexes is soon slated to rise sharply. The full
impact of its rapid spread, particularly over the last two years, is yet to be determined given the
long gestation periods and concentration in and around selected pockets. As a result, it is too
early to draw any conclusions about its impact or chart any definite course for its future.

Going by the variables that are emerging in response to the needs of immediate audiences, and
the fact that in its present form it has acknowledged cinema as composed of diverse possibilities,
the multiplex may in the future enhance segmentation and result in branded theatres exhibiting
particular fare, say the art, mainstream, or foreign films, maybe even documentaries. The
mechanisms of competition would then come into operation and influence aspects such as ticket
pricing.

As a space commanding flexibility and an ease with maneuverability, the multiplex, concurrent
as it is with the digital revolution, could even aid in the promotion of the format. Not simply by
providing accompanying exhibition facilities like digital projection or digital sound, but by
making available alternative display spaces for digital films that bear potential as a distinct
genre. Aith the conveniences of its apparatuses, film form is already witnessing alteration in
some parts of the world, and filmmakers without access to elaborate film equipment have
received a fillip from this technology.

New territories in relation to content are being explored by a breed of filmmakers who are
exploiting the ease of accessibility accompanying the medium. Redefining film form and
content, digital films could prompt and occupy viewing spaces as differing from conventional
films and embody forms like the µwalk through¶ film that may require simultaneous projection
on more than one screen, not necessarily of conventional theatre size.
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MULTI
LO
V/S
SINGLO
SCROON

Aith multiplex industry¶s soaring business and ominous presence, can the single screen cinema
halls sustain its business?

Single screen theatres and talkies in the city are a passé now. They are inconspicuously
disappearing into oblivion in the wake of rampant multiplex culture. Besides the government
ordinance which ensures a complete entertainment tax waiver and concessions to multiplexes,
the populace audience also has deserted the single screens. The nature of multiplex
entertainment, which offers video arcades, bowling alleys and pool parlours spiced up with their
lavish and multi-cuisine food courts, does ensure that the audience is lured towards its glitterati.

Aith multiplexes came the multiplex style of management: plush seats, superior sound quality,
add-ons - all at a price, of course. Consumerism has always existed. Today multiplexes are
offering better facilities to a section of the audience that can afford it.

The Indian film industry is one of the largest in the world -- producing 1041 films, annually. It is
currently worth about US$ 1.8 billion and is expected to grow at a CAGR of 16 per cent for the
next 5 years to reach US$ 3.8 billion in 2011. Bollywood, the Hindi film industry, which
commands a 40 per cent share of the Indian film market, is gaining a global audience. A spurt in
the number of multiplexes in the country has changed the entire complexion of Indian films --
their budgets, the way they are made and the audiences they are made for. Multiplexes have
played a pivotal role in these developments, catering to a global taste, says Mr. Alok Tandon,
CEO of INOX.

Across the country, single-screens are being taken over and converted into multiplexes. Here's a
stunning stat: the total number of screens in India actually declined by nearly 20 % from 2000,
even as the number of multiplex screens surged by a whopping 1300% in the same period.

³Yes multiplexes are a growing trend in Ahmedabad. This will be to the advantage of the
customer making it a buyers market. Populated neighborhoods will see the rise of multiplexes
and this will overcome the problem of fewer cinemas and longer travel times to visit them. This
will also help increase the distribution network of films brings it to a larger audience thereby
improving the overall collections per film. Multiplexes will also open the market for small
budget and international films which can be showcased to a select audience. This is surely
revenue making proposition,´ Pooja Shetty, Director, IMAX Adlabs Multiplex.

According to a government ordinance, the multiplexes need not pay any ET for three years and
then only 25 per cent for the next five. Of course, the multiplexes had to provide extra facilities
such as video games, a theatre to stage plays, adequate parking, a crèche, and gardens and so on.
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The rationale for tax waiver was explained and a statement was appended to the government
notification. The statement reads as follows, ³Public at large these days prefer to see movies at
home. Keeping in view this scenario, a concept of complete family entertainment centre has
emerged, popularly known as a multiplex. However, these multiplexes are highly capital
intensive, their gestation period is also longer and therefore, need government support and
incentive.´

The tax waiver is going to kill multiplex owners.

The notification states that a multiplex has the option of exit after ten years. This is not allowed
for single screen theatres, even if the whole thing is running at a total loss and should a single
screen theatre owner decide to convert the premise into a commercial complex, there is a
condition that a mini-theatre must be a part of the new structure.

³All the incentives has not only given a boost to the burgeoning multiplex industry, but the
fringe benefits like parlors and food courts, that the lies at the core of multiplex entertainment
has been successful in ably attracting the audience. As a result the single screen theatre industry,
which has quality movie and action as their centripetal guiding force, has been dying a slow and
painstaking death. There are very few loyalists who actually are willing to purchase tickets and
visit the single screen theatres, but otherwise the majority doesn¶t mind spending unreasonable
amounts that these multiplexes charge,´ says Mr. Mohan Tapare, Manager Vasant theatre, Pune.

The multiplex industry is a profitable one and it is natural that the entrepreneurs will dive into it.
But what is disheartening is that under the pretext of the entertainment, they are selling other
amenities like food courts, lounge styles and pools. The core of these multiplexes is not quality
entertainment, but hollow facilities and it is really sad that people are willing to pay astronomical
prices and abandoning theatres and drama for these bromides. The current status of single screen
theatre is really concerning.´

³Ae will be left with b and c grade films and this will further deplete an already decreasing
audience,´

Theatre owners are not allowed to change the nature of their business unless they retain 33 per
cent of the original number of seats in their new enterprise. Further, the government has not
considered the fact that not everyone can afford to watch a film in a multiplex considering the
high rates of admission. This will only promote a backdoor boost to video piracy.

Ahat ever be the reason, the popular choice or the government incentives for multiplexes, the
fact that the single screens are deserted is glaringly evident and looks as if soon these single
screens will be a matter of history.
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˜OMAN˜S
OF
MULTI
LO
ONORS

Y Entertainment Tax reduction.

Y Hike in service charge.
Y Exit policy.
Y Electricity at concessional rates.
Y Abolition of show tax imposed by municipal bodies.
Y De-linking of Property Tax from box-office collections.
Y Exemption on taxes for film hoardings in theatre premises.
Y Level playing field with multiplexes.

˜OMAN˜S
OF
MINI
LO
ONORS

Y Movie Rights
Y Tax Benefits
Y Rights against the VCD & DVD
Y Subsidies for opening Miniplex
Y Yearly Tax planning
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STU˜Y
OF
MULTI
LO
IN
AHMO˜ABA˜

Ae will try and study the Multiplex in Ahmedabad with the facilities they are providing to the
consumer.

List of multiplexes at Ahmedabad:

Y Fun republic
Y Aide angle
Y City gold
Y Adlabs
Y PVR
Y R world
Y Devi
Y City pulse

FUN
RO
UBLIC


Y Fun Republic is located at the prime location of Ahmedabad at Satellite.
Y It was started in the year 2000.
Y No. Of screens: 6
Y Parking space: 600 vehicles.
Y Total no. Of seats: 1120
Y Aorking hours: 08:30 am to 10:45 pm.
Y Total staff: 50
Y Add ons: food court, games, shops, and restaurant.

I˜O
ANGLO

Y Aide Angle is located at S.G.HIGHAAY.

Y It was started in the year 2001 .
Y No. Of screens: 5
Y Parking space: 100 vehicles.
Y Total no. Of seats: 820
Y Aorking hours: 09:30 am to 10:45 pm.
Y Total staff: 40
Y Add on: food court, games, and restaurant.
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CITY
GOL˜

Y City gold is located at Ashram Road

Y It was started in the year 2000.
Y No. Of screens: 5
Y Parking space: 800 vehicles.
Y Total no. Of seats: 734
Y Aorking hours: 09:30 am to 10:15 pm.
Y Total staff: 55
Y Add on: food court, games, and restaurant.

R



Y R world is located near Gandhinagar

Y It was started in the year 1998.
Y It has been taken over by Cine max
Y It was previously owned by Rajshri Aorld.
Y It has 4 Screens and one of the best seats in the industry.
Y Total Staff: 28
Y Add on: Food court, Games, Cart Driving, and restaurant.

A˜LABS

Y Adlabs is located at Himalaya Mall, Drive in road.

Y It was started in the year 2007.
Y No. Of screens: 5
Y Parking space: 1500 vehicles.
Y Total no. Of seats: 850
Y Aorking hours: 10:00 am to 10:45 pm.
Y Total Staff: 35
Y Add on: Food court, Games and Restaurant