When India’s first movie theater opened in Bengaluru in 2014, its fans were like a dream come true: they loved the sound and the lights, and the people who showed up were like family. Now, it is closing, and its fans are left to wonder what went wrong.

The story is different in other parts of the world.

India’s film industry is still in its infancy, with a relatively small number of foreign movies making it onto the big screen.

In the U.S., however, the number of American films opening theatres has more than doubled since 2014.

And the number is rising in Europe.

India has the world’s second-largest film market after China.

But the industry is struggling to make a dent, even though many Indian films have been translated to foreign languages.

One film that has been translated from Hindi to French, for example, is about a woman who loses her virginity at a dance.

But some of the most well-received films from India in recent years have been about people from different backgrounds who struggle to get by in the country’s largely rural landscape.

That’s because most Indian movies are directed by foreigners.

The result is that even films about women and ethnic minorities struggle to find a home.

In 2017, a movie called The Mother of all Monsters (about a woman’s life in the village of Purnia) had been nominated for a best foreign language film Oscar.

India is a country of 1.3 billion people, and it has long been an underdog.

The country has a long history of oppression, including a long tradition of male chauvinism, and women in India are often forced to work outside the home to support their families.

A 2014 report by the Center for Economic and Policy Research said that women in the world are paid just 0.7 percent of what men make.

And because the industry depends on the sale of imported goods and services, women earn only around 9 percent of the average Indian wage, according to the National Council of Women in India.

Many of the industry’s problems are compounded by an outdated social contract, the study found.

The film industry was born in Bengalu, a village near the city of Kolkata in southern India.

When the first film theater opened there, the owners were surprised to find that it was staffed by women, many of whom were illiterate.

They found it very difficult to negotiate a deal with the state-owned theater owners who owned other theaters in the area.

The filmmakers also found that they needed the support of the local community, many members of whom didn’t even know how to read.

“They don’t know what to say to the women who come,” said Vicky Gavaskar, the co-founder of the movie-maker Bollywood Women.

“So, you have to ask the community for their help.

They do not have a voice, and you have no power.”

It was a struggle for some of them to find an audience in their community.

In Kolkat, the first movie theaters were named after the goddesses, the Hindu goddesses of childbirth and death.

It was common for women to dress in white, be it traditional clothing or traditional attire like the chadak.

In some parts of India, like the state of Maharashtra, it’s customary for women in their 20s to wear white chadaks.

But in Bengalur, women donned white kurtas or the color of the sun.

It wasn’t until the 1920s that women were allowed to wear traditional clothing in Kolkato, and even then, it was very rare.

And that was not a good place for women.

“There was no public space for women,” said K. S. Kaur, the director of the film-maker Satyakanth and a native of Kalka, a suburb of Kondhpur in western India.

“Women had to stay in the home and take care of the children, the elderly, and were not allowed to work in the industry.”

After several years of struggle, in 1965, the film industry finally gained the approval of the state government, which established the Kolkatt Film Production Development Corporation (KFPDC), which allowed women to work at home.

But that wasn’t enough for K. K. Kamal, who wanted to make his first feature film.

“I was a young man in a hurry, but when I made my first film, the government approved my first proposal,” Kamal said.

The Kolkasetam film industry had been struggling since the early 1990s, Kamal added.

Many directors were reluctant to venture into film-making because of a lack of jobs.

“Some directors were not interested in making movies for their own income,” Kamadal said, referring to female directors.

In 2015, Kamala K. Satyayana was one of them.

The 25-year-old film-makers father had been working as a security guard at the movie studios.

When Satyaya and his family