The Malayalam film industry known for producing some of the best films in India, continues to deliver critically acclaimed and commercially successful movies like Manjummel Boys, Premalu, Aavesham, and 2018. Despite its success, it still lags behind its Telugu and Tamil counterparts in terms of distribution in the North.
The Malayalam film industry’s artistic and commercial strengths have not translated into significant interest from major OTT platforms. A few years ago platforms like Amazon Prime and Netflix India were actively acquiring Malayalam movies. However, this interest has waned leaving only SonyLIV and Disney+ Hotstar showing some interest albeit at lower prices.
A prominent example of this trend is the film Aadujeevitham starring Prithviraj Sukumaran, which has not yet secured an OTT deal despite its success. While big-budget Hindi and Telugu films can sell their digital rights for 100-250 crores, Malayalam films often struggle to secure even 15 crores. OTT platforms are hesitant to purchase the digital rights to Malayalam films likely because they cater to a niche audience of cinephiles rather than the mass viewership needed to justify large investments.
4 out of the 10 top grossing Indian movies of 2024 are Malayalam(Manjummel Boys, Aavesham, Premalu, Goat Life)…
#1 grossing Indian film of the year: a Telugu film with a smaller budget and no big stars(Hanuman)…
The only Hindi film that’s killing it in theaters is a horror… pic.twitter.com/2xvgHJxq3Z
— Raunaq Mangottil (@RaunaqMangottil) June 17, 2024
This reluctance mirrors a broader trend in the South Indian film industry as seen in the Kannada film industry. Rakshit Shetty, a prominent actor, director, and producer in Kannada cinema recently revealed his struggles to secure an OTT deal for his web series “Ekam.” Despite his previous successes with films like 777 Charlie and Sapta Saagaradaache Ello, Rakshit Shetty had to release “Ekam” on his platform due to the lack of interest from major OTT players.
Rakshit Shetty’s experience highlights a significant issue faced by Kannada filmmakers who find it difficult to secure deals for their content on OTT platforms. This underrepresentation is frustrating for filmmakers and audiences alike. Anup Bhandari who is director of “Vikrant Rona,” mentioned that OTT platforms are hesitant to invest in Kannada content due to inconsistent performance in the past. Despite a good year for Kannada cinema in 2022, the lack of confidence in the market persisted into 2023, affecting the willingness of OTT platforms to purchase Kannada films.
The hesitation of OTT platforms to invest in Malayalam and Kannada films is a complex issue. While the quality of these films is undisputed their niche appeal and past performance on OTT platforms have made major players cautious. The need for mass viewership to justify investments means that films appealing to smaller more discerning audiences often get overlooked.
The situation calls for a reevaluation of how OTT platforms approach regional cinema. There is a growing recognition of the diverse and rich storytelling in Malayalam and Kannada films which deserve a broader audience. Platforms could benefit from diversifying their content libraries and catering not only to mainstream tastes but also to niche markets that appreciate high-quality and content-driven films.
For the Malayalam film industry, the challenge lies in expanding its reach and appealing to a wider audience without compromising its artistic integrity. Collaborations with OTT platforms could involve creating targeted marketing strategies to highlight the unique aspects of Malayalam cinema. Additionally, offering competitive prices for digital rights could encourage more filmmakers to sell their films to these platforms creating a win-win situation for both the industry and the OTT platforms.
