Indie Cinema Revolution: Opportunities and challenges in the OTT space

Over the last six years, Adgully’s SCREENXX Summit & Awards has established itself as a premier platform where creativity meets recognition in the world of OTT and digital entertainment. From breakthrough artists to seasoned creators, SCREENXX Awards has been consistently celebrating excellence and innovation in the industry.

The 6th edition of SCREENXX Summit & Awards 2024, held in Mumbai on November 13, 2024, recognized the outstanding work of India’s leading artists, creators, directors, and OTT platforms. The summit also hosted an insightful panel discussion on ‘Indie Cinema Revolution: Opportunities and Challenges in the OTT Space’. Moderated by Karan Taurani, SVP, Elara Capital, the esteemed panelists included:

Abhishek Sinha, Film Director – ‘Tumse Na Ho Payega’

Kunal Sawhney, COO, Cineline India

Pranjal Khandhdiya, Film Producer, Mango People Media & Managing Partner, Outsiders Films

Sandeepa Dhar, Actor

Satramm Ramani, Film Director

The session opened with Karan Taurani setting the context, saying, “We are discussing movies that are non-theatrical in nature. This segment really took off post-Covid, where trends shifted dramatically. Films started going directly to OTT platforms. The reduced theatrical-to-OTT window has also played a crucial role. What was once a seven-to-eight-week window is now down to just three to four weeks. This allowed for more diverse stories and talent to come to the forefront. We’ll explore how monetization, creativity, and concept development are shaping this new era of entertainment.”

“Fragmentation in the OTT space, with multiple platforms experimenting, has led to the explosion of this segment. Platforms are innovating and supporting original content that reaches global audiences. As producers and creators, what are the strategies you’ve implemented to cater to this evolving audience? What kind of content works in this space?”

Pranjal Khandhdiya highlighted how adversities like the pandemic created new opportunities. He said, “All adversities lead to opportunities. When theatres shut down during the pandemic, OTT became the savior for filmmakers, producers, and talent. What started as a necessity has now evolved into a more structured approach. Today, making content for OTT requires a deep understanding of the medium, the audience, and the platform’s unique requirements.”

Elaborating the challenges of catering to diverse OTT platforms, Khandhdiya said, “Each OTT platform has a unique audience. A Netflix audience is very different from a JioCinema or a Hotstar audience. As a producer, it’s vital to understand the segmentation and cater to it. For instance, when we produced ‘Kacha Limbu’, it was tailored specifically for JioCinema as their first original film. Customization is key to making content resonate with the right audience.”

Sharing his experience, Abhishek Sinha emphasised the power of analytics in OTT, saying, “When I directed my film last year, we initially targeted the 18-35 age group. But the analytics showed that the film was being watched by people aged 12 to 40 across genders and regions. This was a revelation. OTT platforms provide immediate access to global audiences, breaking traditional barriers. The most critical factor is good content. If your story is compelling, it will resonate across demographics.”

“Post-Covid, audiences have become more discerning. They now have access to global content, which has elevated their expectations and understanding of storytelling. OTT has democratized content consumption, giving space for everything from short documentaries to large-scale productions,” he added.

Satramm Ramani quoted Satyajit Ray to underscore the diversity of stories in India, “India has a story in every street, every village, every household. However, not every story has an audience. The beauty of OTT is that it provides ample choices, and algorithms work to match content with individual preferences. While some viewers stick to genres like comedy or thrillers, others explore diverse content like Korean dramas or documentaries.”

Citing an example, he added, “My film, ‘Double XL’, did not perform well theatrically, but received massive appreciation when it was released on Netflix. It reached 15 countries, and Netflix reported its success months later. This proves that OTT can give films a second life and a global platform, regardless of their theatrical performance.”

Karan Taurani noted how OTT has transformed the dynamics of stardom. “In the past, stars were born on the big screen, and moving to television was often seen as a step down. Today, OTT platforms and social media have become the new breeding grounds for stardom. How has this shift impacted the brand value of talent and their positioning in the industry?”

Sandeepa Dhar responded by saying, “The power has shifted from producers to audiences. Earlier, producers decided who would star in a film, often based on family connections or industry clout. With OTT, casting decisions are now influenced by fan followings and audience demand. Social media plays a significant role in this process. Fortunately, this shift has opened up opportunities for talented performers who may not have had a chance otherwise.”

She added, “OTT has introduced a phenomenal number of new actors to the industry. These actors are now moving on to bigger films and even international projects. However, there’s also a concern that big-screen stars moving to OTT could overshadow emerging talent. The essence of OTT lies in its focus on quality storytelling, and we must maintain that balance.”

Cinema and OTT are not competitors; they complement each other. A great film on OTT can drive audiences to cinemas, and vice versa. For example, a sleeper hit on OTT has the potential for a theatrical re-release. The key is to see them as interconnected parts of the larger entertainment ecosystem.

Some people prefer the cinematic experience, while others enjoy the convenience of OTT. It’s about catering to different preferences without creating unnecessary competition.

These are edited excerpts. For the complete panel discussion, please watch below:

https://www.youtube.com/watch?v=hQVbUTaX5aU