Sydney Dias is a passionate theatre artist leading a vibrant troupe of traditional performers hailing from Hangilipola, a quaint village nestled near the iconic Sigiriya. Their signature production, a captivating folk play titled “Jahuta,” showcases the rich cultural heritage of their community. Despite his artistic flair, Sydney’s journey has not been without its challenges; he is an uneducated man who once sought employment through a politician, only to be overlooked due to his failure to pass the GCE (Ordinary Level) exams. Frustrated with the meagre earnings from his odd jobs, Sydney dreams of a brighter future, yearning for more than just survival.
In a bid to supplement his income, Sydney and his troupe engage in the perilous pursuit of unearthing hidden treasures. However, this venture yields only scant rewards and invites a host of complications into their lives.
Then, during one of their adventurous escapades, Sydney and his companions stumble upon a mysterious Valampuri, a rare conch shell steeped in legend and linked to the revered spiritual figure, Swami Makandaraja. Convinced that this shell could fetch a small fortune, Sydney, along with his loyal friends – Priyankara, Nimalasiri, Chinthaka, and Angelo – embarks on an exhilarating quest to capitalise on their discovery.
As they navigate this treacherous path, the stakes rise with each twist and turn, leading them through a labyrinth of deception, moral quandaries, and unforeseen obstacles. Their journey introduces them to a colourful cast of characters, including a seasoned police officer and the enigmatic Madam Sisika, whose interactions with the troupe heighten the suspense and intrigue.
In this tale of ambition, tradition, and the quest for fortune, Sydney and his group must confront not only the external challenges of their environment but also the internal struggles that define their very existence.
In short, this is the story of ‘Valampuri’, which stands as a testament to exceptional cinematic success. Despite its simple narrative, the film achieved remarkable popularity, running for more than 75 days in the first round, while consistently captivating audiences. This success was attained without the reliance on high-profile star power, featuring only one prominent female character who appears predominantly towards the latter part of the movie. Notably, this film marks the directorial debut in cinema for the director Lakmal Darmarathna, previously acclaimed for his television creation, ‘Koombiyo’ (2017).
Beyond ‘Valampuri,’ the year 2025 has witnessed several notable successes within locally produced cinema, a trend arguably initiated by ‘Rani,’ a compelling biographical drama-thriller. Directed by veteran filmmaker Asoka Handagama, ‘Rani’ meticulously chronicled the life and times of Dr. Manorani Saravanamuttu, the resilient mother of the late journalist and human rights activist, Richard de Soysa.
Portrayed by the acclaimed Swarna Mallawarachchi, the central character is depicted grappling with profound grief and embarking on a harrowing quest for justice following her son’s abduction and murder in February 1990. The narrative skillfully traces pivotal events between 1990 and 1993, artfully framing her intensely personal loss against the turbulent backdrop of the JVP insurrection and the pervasive political violence prevalent during President Premadasa’s regime.
‘Rani’ resonated strongly with Sri Lanka’s politicallyconscious cinema audience, whose collective memory of the incident remained vivid. Handagama’s distinctive directorial style, characterised by minimalistic dialogue, evocative cinematography by Channa Deshapriya, and a profound focus on psychological depth and societal commentary, was prominently featured. The film garnered widespread praise for its powerful emotional resonance and exceptional technical artistry.
Then there were four other notable movies in the same year. ‘Nelum Kuluna’ (Tentigo), directed by Ilango Ram, stood out as a pioneering black comedy, a genre rarely explored in the country’s film industry. Malaka Dewapriya’s ‘Bahuchithawadiya’ (The Undecided) offered another distinctive narrative to audiences. Veteran director Jayantha Chandrasiri contributed ‘Devi Kusumasana’, a meticulously recreated historical drama. Finally, ‘Clarence: The Rhythm of the Guitar’, a biographical musical drama celebrating the life of legendary musician Clarence Wijewardena, was directed by the late Theja Iddamalgoda, who tragically passed away in November 2024, without having seen his creation achieve success. These four films collectively underscore the diverse talent and growing artistic ambition within contemporary Sri Lankan cinema.
The current period could well be dubbed the “Summer of Local Cinema” in Sri Lanka, a welcome change after an extended downturn. It’s not that there was a shortage of films; quite the opposite, a plethora of movies were produced. The persistent challenge, however, has been their struggle to attract audiences. The situation had deteriorated to the point where some theatres, facing fewer than ten viewers per screening, were compelled to cancel shows entirely as the revenue couldn’t even cover operational costs. Consequently, profitability for most films became a rarity. This raises a pertinent question: why were so many movies being produced if financial returns were consistently poor? While direct evidence is elusive, a plausible explanation is that, given the prevailing lax financial regulations, film production may have been exploited as a loophole for tax evasion or money laundering.
The year 2025, on the other hand, saw all these movies that made money. This is indeed good for the Sri Lankan film industry, which at its best is similar to, but operates on a significantly smaller scale compared to its counterparts in India’s major regional cinemas, namely Tamil, Telugu, Malayalam, and Bengali.
The South Indian movie industry is colossal: Telugu Cinema (Tollywood) is among India’s largest by revenue, producing 150-200 films annually and generating over USD 300-400 million at the box office, with major blockbusters regularly exceeding USD 100 million globally. Similarly, Tamil Cinema (Kollywood) is a dominant force, releasing 200-250 films yearly and recording revenues upwards of USD 400-500 million, driven by a powerful star system and a vast global diaspora audience. Malayalam Cinema (Mollywood), though historically smaller in commercial terms, is celebrated for its high-quality, content-driven films, producing 150-200 films annually and experiencing a recent surge in revenues, with 2024’s first half already reaching nearly USD 90 million. Lastly, Bengali Cinema, while possessing a rich artistic legacy, operates on a more modest commercial scale, with revenues typically in the USD 8-20 million range, producing fewer films than its southern counterparts and facing stiff competition within the broader Indian market. Overall, the financial and production magnitude of the major Indian regional film industries is exponentially larger than that of Sri Lanka’s, highlighting a significant disparity in market size, audience base, and commercial infrastructure.
Historically, Sri Lanka’s movie industry has never been large. This does not mean it should remain like that for the future. The industry’s early years were marked by significant influence from South Indian cinema. Films like Kadavunu Poronduwa (1947) and Banda Nagarayata Pamine (1952) were technically produced in India, and even local productions often followed Indian conventions, such as studio-based shooting and formulaic storylines. This reliance likely stunted the development of a distinct Sri Lankan cinematic identity, as filmmakers struggled to innovate beyond established models. For instance, Rekava (1956), an innovative film shot outside studios and shown at Cannes, failed domestically due to audience unfamiliarity with its documentary-like style, highlighting early challenges in audience acceptance of originality.
Economic factors have been a major barrier to the expansion of the industry. The civil war (1983–2009) led to a decline in cinema attendance, as people avoided public spaces, with television viewership rising as an alternative. Admissions dropped from 74 million in 1979 to 51 million by 1982, and further to 7.2 million by 2009. The small market size, with a population of 22 million and more than half living in poverty, makes large investments in film production risky. This is particularly true for niche genres like sci-fi or fantasy, which lack a sufficient audience to justify costs. The Sinhala language further limits global appeal, with no Sri Lankan films on platforms like Netflix due to the lack of an international audience.
Then, filmmakers face significant resource constraints. Funding is scarce, especially for non-traditional films, with budgets often too low for high-quality Visual effects (VFX) or international standards. For example, directors have reported being offered remarkably low budgets for projects requiring advanced effects. Access to technology is limited, with VFX and 3D animation courses being expensive and scarce. The lack of investment in digital infrastructure hampers modern production and distribution capabilities. These factors have led to a lack of skilled professionals. There is a shortage of talent in VFX, CGI, storytelling, directing, and acting, with only a few CGI artists capable of Hollywood-level work, while the vast majority are beginners stuck to low standards. Acting is often criticised for being unnatural, with many feeling even non-professionals could perform better.
The theatre count has also shrunk dramatically, from 365 in 1978 to 147 by 2010, and further to 168 by 2022, making it difficult for films to recoup investments. This has led to a proliferation of low-budget films, which often underperform at the box office. This has made International films, particularly Tamil-language films from India and Hollywood blockbusters, dominate the Sri Lankan market. These films often outperform local releases, even when screened in fewer theatres, due to their higher production values and broader appeal. This competition has historically overshadowed local productions, making it harder for Sri Lankan films to gain traction.
To revitalise its film industry, Sri Lanka can perhaps draw crucial lessons from successful smaller nations like Ireland and Pakistan. Ireland’s cinematic growth from a “cottage industry” to a global force was driven by strong government backing through Screen Ireland – the national development agency for the creative screen industries in Ireland, attractive tax incentives, and significant investment in talent and infrastructure. Similarly, Pakistan’s early 2010s revival was fueled by a booming television industry, leading to the emergence of privately owned media houses and increased multilingual production.
For Sri Lanka, modernising infrastructure is paramount, requiring upgrades to film studios, equipment, and digital capabilities to meet contemporary production standards. Ireland’s foresight in investing in sound stages and post-production facilities has attracted both local and international projects, underscoring Sri Lanka’s critical need to address its current lack of VFX and CGI capabilities to produce globally competitive films. Concurrently, developing and nurturing talent is essential through film schools, international scholarships, and mentorship programs, mirroring Ireland’s successful skills development initiatives that engaged over 5,000 participants by 2023.
Sri Lankan filmmakers must increasingly focus on the international market, understanding that while local audiences are important, films with universal themes can achieve global recognition, as demonstrated by Irish films like Brooklyn and Room, which garnered Academy Award nominations. Sri Lanka’s rich 2,500-year history and cultural heritage offer a unique wellspring for compelling narratives that appeal to both local and international audiences.
Achieving this requires more than just government support; private investment and international partnerships are crucial, as seen in Pakistan’s revival, driven by privately owned media houses. Co-productions with countries like India, the UK, or France can unlock vital funding and expand distribution networks. Furthermore, Sri Lanka’s current reluctance to organise global or regional film festivals is a missed opportunity, as these platforms are invaluable for showcasing local talent and gaining international recognition. Hosting a national film festival, similar to Ireland’s Galway Film Fleadh, could celebrate local cinema and foster innovation, while active participation in international festivals can attract investment and collaboration, positioning Sri Lankan films globally.
Finally, it’s undeniable that ongoing economic crises and political uncertainty pose significant challenges for the film industry’s planning and investment. Implementing longterm economic policies to stabilise the industry, including consistent funding for film projects, is paramount, echoing Ireland’s experience where the re-establishment of the Irish Film Board in the 1990s was crucial for growth. Ensuring sustained political support for the arts and culture is fundamental to creating a predictable and favourable environment for the industry to thrive. This current “summertime” for local movies should be strategically utilised to reflect on these critical needs and proactively chart a course for the future.