Bengali cinema is fighting a battle beyond the screen in 2025—a battle behind the scenes. The Federation of Cine Technicians and Workers of Eastern India (FCTWEI), once a backbone of the industry, is now at the center of a growing storm. From delayed shoots and forced crew hirings to production houses shifting locations out of West Bengal, the union drama is shaking Tollywood to its core.
In this blog, we unpack the real impact of FCTWEI’s current practices, why filmmakers are speaking out, and what it means for the future of Bengali storytelling.
FCTWEI is the dominant trade union governing technicians, junior artists, and other behind-the-scenes workers in the Bengali film and television industry. It has traditionally been responsible for regulating fair wages, ensuring safety, and maintaining standards.
But as 2025 rolls in, complaints against the union have surged. Major issues include:
Multiple producers and directors have anonymously spoken to publications like ThePrint and NewsBytes, highlighting how union pressure is derailing their creative and financial planning.
Big-budget and small-budget filmmakers alike are now looking at locations outside West Bengal to maintain creative freedom and cost control.
From Darjeeling to the Sundarbans, Bengal has always been a filmmaker’s paradise. But now, the logistical nightmare created by union hurdles is pushing filmmakers to other states like Odisha, Jharkhand, and even Assam.
Key reasons for this shift:
Less interference in creative decisions
While Bengal still holds aesthetic charm, producers are choosing peace of mind over legacy locations.
Ironically, the union’s aggressive stance is hurting the very workers it was meant to protect. As production leaves Bengal:
If this trend continues, the regional economy may suffer long-term damage, and Bengal may lose its status as a cultural cinema hub.
The West Bengal government has expressed concern but remains largely inactive in terms of reform. A few attempts at mediation have failed due to the political backing some unions enjoy.
Film federations and production houses are now considering forming an independent regulatory body to:
The need of the hour is regulation—not disruption.
Audiences may not see the struggle, but they will feel it:
— This is not just an industry issue—it’s a cultural one.
The FCTWEI conflict is more than a union drama. It’s a test of whether Bengali cinema can evolve into a sustainable, globally competitive industry or fall prey to internal power struggles.
If fair labor practices, freedom of choice, and creative independence can be guaranteed, Bengal can once again become a powerhouse of cinema.
But without immediate reform, the damage may be irreversible. The stories that define us will find a home elsewhere.
