Awards for sale : How ‘Pay-to-Play’ festivals corrupt Indian cinema
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Herojit Nongmaithem
The proliferation of film festivals across India has created a challenging landscape for filmmakers, as the rise of fraudulent ‘pay-to-play’ events threatens the integrity of genuine cinematic achievements.
These questionable festivals, where awards and citations are essentially bought rather than earned, undermine the credibility of the entire film fraternity, including regional cinemas like Manipuri cinema, which has a legacy of producing quality work. Filmmakers, in their pursuit of recognition, can easily fall prey to these schemes, often circulated as press releases boasting of bogus accolades like Best Director, Best Script, Best Actor, Best Screenplay, or Best Producer. This practice not only compromises the artistic integrity of the filmmaker but also corrupts the art form by shifting the focus from talent to financial capacity.
In 2025, the rise of a ‘pay-to-play’ culture has significantly eroded the integrity of Indian cinema, shifting the value of accolades from artistic merit to financial transactions. This systemic corruption is characterized by the blatant commercialization of recognition, where private entities organize award ceremonies primarily as revenue-generating ventures. Investi- gations in February 2025 uncovered rackets where awards were allegedly sold for sums ranging from Rs 2,000 to Rs 1 lakh, often accompanied by fraudulent honorary degrees in ‘combo deals’ These organizations further monetize the industry’s glamor by charging exorbitant attendance fees, with tickets for some events priced as high as Rs 2.5 lakh per couple. It was further alleged that they sold awards to commercially unsuccessful films and actors. Such fraudulent schemes are not limited to one event and have been reported across the country, including in South India, where similar pay-to-play tactics are used to generate profit. Organizers of these festivals exploit filmmakers’ ambitions, often with- out a transparent judging process or genuine industry backing, to peddle awards that hold no real artistic value. For serious directors and producers, participating in such events is a significant waste of resources and, more importantly, damages their reputation and the reputation of the industry as a whole.
Filmmakers committed to their craft should instead focus on legitimate platforms. Genuine Indian film festivals such as the International Film Festival of India (IFFI) in Goa, Mumbai Film Festival (MAMI), Kerala International Film Festival (IFFK), Bengaluru International Film Festival (BIFFES), and the Kolkata International Film Festival (KIFF), are recognized by the International Federation of Film Producers Associations (FIAPF) and adhere to strict standards of artistic merit.
The machinery of this culture thrives by preying on the aspirations of independent and emerging filmmakers who view festival laurels as essential for career momentum and digital distribution. By promi- sing exposure and ‘prestige’ these fraudulent festivals drain the limited financial resources of artists without providing any genuine networking or industry value. The deception is deepened through the calculated misuse of prestige, particularly the appropriation of legendary names like Dadasaheb Phalke. In 2025, prominent cases were filed against organizers for misusing this trademark to make private events appear as official Government-backed ceremonies. To secure sponsorships from reputable banks and state tourism departments, these organizers frequently use fabricated letters and forged endorsements from high-ranking officials, including the President and Prime Minister of India. This blurring of lines not only defrauds sponsors and participants but also tarnishes the global reputation of Indian cinema’s legitimate honors.
The mechanics of corruption in ‘pay-to-play’ festi- vals in 2025 rely on a multi-pronged strategy designed to hack public and institutional trust. At the core of this operation is the direct sale of awards and titles, where fraudulent organizers have been found selling accolades for amounts ranging from Rs 2,000 to Rs 1 lakh. These ‘award rackets’ often entice participants with ‘combo deals’ that include fake honorary PhD degrees, providing a veneer of intellectual prestige to go alongside cinematic trophies. To legitimize these commercial ventures, organizers frequently use fabri- cated endorsements to deceive both the industry and the public. In 2025, investigations by the Mumbai Police revealed that prominent scam operations used sophisticated methods, including forged letters of support purportedly signed by the President of India, the Prime Minister, and other high-ranking Union Ministers. These counterfeit documents and photographs are prominently displayed on websites and at events to project a false image of Government backing. This manufactured credibility is then leveraged to secure deceptive sponsorships from prestigious institutions. By misrepresenting their private functions as official State-supported ceremonies —often misusing the ‘Incredible India’ campaign brand—fraudsters have successfully misled public sector banks like Punjab National Bank and the State Bank of India, as well as the Tourism Departments of various States including Maharashtra, Uttar Pradesh, and Gujarat. These misleading partnerships provide the necessary funding for the events while simultaneously trapping reputable brands in a cycle of unearned association with fraudulent accolades.
The proliferation of ‘pay-to-play’ award schemes in 2025 has had a corrosive impact on the structural health and global standing of Indian cinema. This corruption begins with the devaluation of merit, as awards are increasingly sold to commercially underper-forming or low-quality films, stripping these accolades of their role as indi- cators of excellence. When recognition can be bought for a few thousand rupees, the traditional merit-based ecosystem—once a vital filter for identifying genuine talent—is replaced by a system that rewards financial capital over artistic innovation. This trend causes severe harm to independent filmmakers, who are the primary victims of these fraudulent ‘bogus’ festivals.
Emerging artists, already struggling with limited budgets and a lack of private funding, often lose critical resources—sometimes reaching lakhs of rupees—to festivals that promise career-making exposure but deliver neither industry networking nor distribution opportunities. By draining the financial reserves of young talent, these scams effectively stifle the next generation of authentic cinematic voices.
The resulting distorted public perception further compounds the crisis. In 2025, even the prestigious National Film Awards faced significant criticism for perceived biases and commercial shifts, making it even harder for local and global audiences to distinguish between legitimate state honors and fraudulent private ceremonies. This confusion leads to massive reputational damage, as the unchecked growth of fake awards tarnishes the global image of Indian cinema. When the Nation’s highest honors are questioned and private ‘award rackets’ proliferate, it diminishes the international ‘soft power’ of Indian storytelling and makes it increasingly difficult for genuine talent to secure the trust and recognition needed to succeed on the world stage. In 2025, identifying and combating the proliferation of ‘pay-to-play’ festivals has become a critical priority for the Indian film industry.
Vigilance begins with recognizing verification red flags that distinguish frau-dulent schemes from legitimate festivals. Filmmakers are advised to be wary of events that boast an excessive number of award categories—sometimes exceeding 90—designed to maximize revenue by ‘selling’ a trophy to almost every entrant. Other warning signs include monthly cycles instead of annual editions, a lack of physical public screenings, and an absence of credible industry professionals or jury members on their boards. Furthermore, the use of AI-generated images of audiences and inconsistent logos across social media often betrays a festival’s lack of physical existence.
Legal and regulatory action against these ‘award rackets’ significantly intensified in early 2025. A major breakthrough occurred in February 2025 when the Mumbai Police registered an FIR at Bandra Police Station against the organizers of the Dadasaheb Phalke International Film Festival (DPIFF).
The accused were charged under sections 318 (4) and 319(2) of the Bharatiya Nyaya Sanhita (BNS) for allegedly defrauding the Government and public by misrepresenting their private event as an official State honor. Investigations revealed they used forged letters from the President and Prime Minister to lure sponsors and sold VIP tickets for up to Rs 2.5 lakh per couple.
This issue also places a critical responsibility on the media. Newspapers and other publications must recognize their role in either perpetuating or mitigating this problem. By circulating unverified press notes that glorify awards from fake festivals, media outlets inadvertently encourage frau- dulent behavior and mislead the public. Therefore, it is imperative for the media to scrutinize such news and verify the legitimacy of the festivals and awards before reporting on them. By holding filmmakers accountable for their claims and highlighting credible festivals, the media can help protect the public from misinformation and preserve the integrity of the film industry. For aspiring and established filmmakers, navigating the world of film festivals can be challenging. However, maintaining artistic integrity and seeking genuine recognition are paramount. By prioritizing festivals accredited by reputable organizations like FIAPF, researching the credibility of lesser-known events, and focusing on the artistic merit of their work, filmmakers can avoid falling prey to fraudulent schemes and contribute to a healthier film ecosystem. To prevent further corruption, industry experts emphasize an urgent need for transparency and rigorous verifi- cation. Actors, sponsors, and exhibitors are increasingly called upon to conduct due diligence, such as cross-referencing festival claims with the Ministry of Information and Broadcasting or the National Film Development Corporation (NFDC). By demanding proof of physical venues, verified winners’ lists, and legitimate industry affiliations, the cinematic community can collectively dismantle these fraudulent structures and restore the sanctity of artistic recognition in India.
Just as a masterpiece is valued for its inherent beauty and craftsmanship, not the price tag attached to it, a film should be celebrated for its artistic quality and impact, not for an award that was bought rather than earned. Let us uphold the true spirit of cinema, which celebrates creativity, storytelling, and artistic excellence, by recognizing only those who truly deserve the accolades, not those who merely pay for them. Lastly, it falls on both the film fraternity and the media to prioritize artistic excellence and genuine recognition over superficial claims and commercial gains. This collective vigilance is the only way to ensure that filmmaking remains a true art form and not a transactional business.
The proliferation of film festivals across India has created a challenging landscape for filmmakers, as the rise of fraudulent ‘pay-to-play’ events threatens the integrity of genuine cinematic achievements.
These questionable festivals, where awards and citations are essentially bought rather than earned, undermine the credibility of the entire film fraternity, including regional cinemas like Manipuri cinema, which has a legacy of producing quality work. Filmmakers, in their pursuit of recognition, can easily fall prey to these schemes, often circulated as press releases boasting of bogus accolades like Best Director, Best Script, Best Actor, Best Screenplay, or Best Producer. This practice not only compromises the artistic integrity of the filmmaker but also corrupts the art form by shifting the focus from talent to financial capacity.
In 2025, the rise of a ‘pay-to-play’ culture has significantly eroded the integrity of Indian cinema, shifting the value of accolades from artistic merit to financial transactions. This systemic corruption is characterized by the blatant commercialization of recognition, where private entities organize award ceremonies primarily as revenue-generating ventures. Investi- gations in February 2025 uncovered rackets where awards were allegedly sold for sums ranging from Rs 2,000 to Rs 1 lakh, often accompanied by fraudulent honorary degrees in ‘combo deals’ These organizations further monetize the industry’s glamor by charging exorbitant attendance fees, with tickets for some events priced as high as Rs 2.5 lakh per couple. It was further alleged that they sold awards to commercially unsuccessful films and actors. Such fraudulent schemes are not limited to one event and have been reported across the country, including in South India, where similar pay-to-play tactics are used to generate profit. Organizers of these festivals exploit filmmakers’ ambitions, often with- out a transparent judging process or genuine industry backing, to peddle awards that hold no real artistic value. For serious directors and producers, participating in such events is a significant waste of resources and, more importantly, damages their reputation and the reputation of the industry as a whole.
Filmmakers committed to their craft should instead focus on legitimate platforms. Genuine Indian film festivals such as the International Film Festival of India (IFFI) in Goa, Mumbai Film Festival (MAMI), Kerala International Film Festival (IFFK), Bengaluru International Film Festival (BIFFES), and the Kolkata International Film Festival (KIFF), are recognized by the International Federation of Film Producers Associations (FIAPF) and adhere to strict standards of artistic merit.
The machinery of this culture thrives by preying on the aspirations of independent and emerging filmmakers who view festival laurels as essential for career momentum and digital distribution. By promi- sing exposure and ‘prestige’ these fraudulent festivals drain the limited financial resources of artists without providing any genuine networking or industry value. The deception is deepened through the calculated misuse of prestige, particularly the appropriation of legendary names like Dadasaheb Phalke. In 2025, prominent cases were filed against organizers for misusing this trademark to make private events appear as official Government-backed ceremonies. To secure sponsorships from reputable banks and state tourism departments, these organizers frequently use fabricated letters and forged endorsements from high-ranking officials, including the President and Prime Minister of India. This blurring of lines not only defrauds sponsors and participants but also tarnishes the global reputation of Indian cinema’s legitimate honors.
The mechanics of corruption in ‘pay-to-play’ festi- vals in 2025 rely on a multi-pronged strategy designed to hack public and institutional trust. At the core of this operation is the direct sale of awards and titles, where fraudulent organizers have been found selling accolades for amounts ranging from Rs 2,000 to Rs 1 lakh. These ‘award rackets’ often entice participants with ‘combo deals’ that include fake honorary PhD degrees, providing a veneer of intellectual prestige to go alongside cinematic trophies. To legitimize these commercial ventures, organizers frequently use fabri- cated endorsements to deceive both the industry and the public. In 2025, investigations by the Mumbai Police revealed that prominent scam operations used sophisticated methods, including forged letters of support purportedly signed by the President of India, the Prime Minister, and other high-ranking Union Ministers. These counterfeit documents and photographs are prominently displayed on websites and at events to project a false image of Government backing. This manufactured credibility is then leveraged to secure deceptive sponsorships from prestigious institutions. By misrepresenting their private functions as official State-supported ceremonies —often misusing the ‘Incredible India’ campaign brand—fraudsters have successfully misled public sector banks like Punjab National Bank and the State Bank of India, as well as the Tourism Departments of various States including Maharashtra, Uttar Pradesh, and Gujarat. These misleading partnerships provide the necessary funding for the events while simultaneously trapping reputable brands in a cycle of unearned association with fraudulent accolades.
The proliferation of ‘pay-to-play’ award schemes in 2025 has had a corrosive impact on the structural health and global standing of Indian cinema. This corruption begins with the devaluation of merit, as awards are increasingly sold to commercially underper-forming or low-quality films, stripping these accolades of their role as indi- cators of excellence. When recognition can be bought for a few thousand rupees, the traditional merit-based ecosystem—once a vital filter for identifying genuine talent—is replaced by a system that rewards financial capital over artistic innovation. This trend causes severe harm to independent filmmakers, who are the primary victims of these fraudulent ‘bogus’ festivals.
Emerging artists, already struggling with limited budgets and a lack of private funding, often lose critical resources—sometimes reaching lakhs of rupees—to festivals that promise career-making exposure but deliver neither industry networking nor distribution opportunities. By draining the financial reserves of young talent, these scams effectively stifle the next generation of authentic cinematic voices.
The resulting distorted public perception further compounds the crisis. In 2025, even the prestigious National Film Awards faced significant criticism for perceived biases and commercial shifts, making it even harder for local and global audiences to distinguish between legitimate state honors and fraudulent private ceremonies. This confusion leads to massive reputational damage, as the unchecked growth of fake awards tarnishes the global image of Indian cinema. When the Nation’s highest honors are questioned and private ‘award rackets’ proliferate, it diminishes the international ‘soft power’ of Indian storytelling and makes it increasingly difficult for genuine talent to secure the trust and recognition needed to succeed on the world stage. In 2025, identifying and combating the proliferation of ‘pay-to-play’ festivals has become a critical priority for the Indian film industry.
Vigilance begins with recognizing verification red flags that distinguish frau-dulent schemes from legitimate festivals. Filmmakers are advised to be wary of events that boast an excessive number of award categories—sometimes exceeding 90—designed to maximize revenue by ‘selling’ a trophy to almost every entrant. Other warning signs include monthly cycles instead of annual editions, a lack of physical public screenings, and an absence of credible industry professionals or jury members on their boards. Furthermore, the use of AI-generated images of audiences and inconsistent logos across social media often betrays a festival’s lack of physical existence.
Legal and regulatory action against these ‘award rackets’ significantly intensified in early 2025. A major breakthrough occurred in February 2025 when the Mumbai Police registered an FIR at Bandra Police Station against the organizers of the Dadasaheb Phalke International Film Festival (DPIFF).
The accused were charged under sections 318 (4) and 319(2) of the Bharatiya Nyaya Sanhita (BNS) for allegedly defrauding the Government and public by misrepresenting their private event as an official State honor. Investigations revealed they used forged letters from the President and Prime Minister to lure sponsors and sold VIP tickets for up to Rs 2.5 lakh per couple.
This issue also places a critical responsibility on the media. Newspapers and other publications must recognize their role in either perpetuating or mitigating this problem. By circulating unverified press notes that glorify awards from fake festivals, media outlets inadvertently encourage frau- dulent behavior and mislead the public. Therefore, it is imperative for the media to scrutinize such news and verify the legitimacy of the festivals and awards before reporting on them. By holding filmmakers accountable for their claims and highlighting credible festivals, the media can help protect the public from misinformation and preserve the integrity of the film industry. For aspiring and established filmmakers, navigating the world of film festivals can be challenging. However, maintaining artistic integrity and seeking genuine recognition are paramount. By prioritizing festivals accredited by reputable organizations like FIAPF, researching the credibility of lesser-known events, and focusing on the artistic merit of their work, filmmakers can avoid falling prey to fraudulent schemes and contribute to a healthier film ecosystem. To prevent further corruption, industry experts emphasize an urgent need for transparency and rigorous verifi- cation. Actors, sponsors, and exhibitors are increasingly called upon to conduct due diligence, such as cross-referencing festival claims with the Ministry of Information and Broadcasting or the National Film Development Corporation (NFDC). By demanding proof of physical venues, verified winners’ lists, and legitimate industry affiliations, the cinematic community can collectively dismantle these fraudulent structures and restore the sanctity of artistic recognition in India.
Just as a masterpiece is valued for its inherent beauty and craftsmanship, not the price tag attached to it, a film should be celebrated for its artistic quality and impact, not for an award that was bought rather than earned. Let us uphold the true spirit of cinema, which celebrates creativity, storytelling, and artistic excellence, by recognizing only those who truly deserve the accolades, not those who merely pay for them. Lastly, it falls on both the film fraternity and the media to prioritize artistic excellence and genuine recognition over superficial claims and commercial gains. This collective vigilance is the only way to ensure that filmmaking remains a true art form and not a transactional business.