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The theatrical release landscape for South Indian films, particularly concerning their transition to Over-The-Top (OTT) platforms, has undergone a significant shift following the release of Allu Arjun's 'Pushpa 2: The Rule'. For some time, a disparity existed between the release windows of Hindi films and dubbed South Indian films. Hindi films typically adhere to an eight-week theatrical window before their OTT premiere, a rule intended to protect theatrical revenues and encourage cinema attendance. However, South Indian films, even those dubbed in Hindi, often had significantly shorter windows, sometimes as short as four weeks. This practice proved particularly problematic for large-scale productions with substantial box office potential, as it diminished the films' earning capacity in theaters before arriving on streaming services. The ensuing conflict between North Indian distributors and multiplexes, highlighted by losses incurred on films such as 'Leo', 'Goat', 'Jailer', and 'Vettaiyan: The Hunter', fueled the need for a standardized approach. The multiplexes in the North insisted on the eight-week window as a condition for screening these films, leading to considerable tension with producers who favored quicker OTT releases.
The release of 'Pushpa 2', however, appears to have tipped the scales in favor of the extended theatrical run. The film's decision to adopt the eight-week window marks a victory for the Multiplex Association in the North, ensuring a fairer distribution of revenue and offering a more competitive environment for theatrical releases. This aligns with the views of various trade experts and exhibitors. Girish Wankhede, a trade expert, emphasizes the importance of this decision in safeguarding the multiplex business. Akshaye Rathi, an exhibitor and distributor, highlights the crucial role of the eight-week window in encouraging cinema attendance, especially for mid-budget films. He emphasizes that if viewers believe a film will be readily available on streaming services within a few weeks, it diminishes the incentive to watch it in theaters. The extended window, according to Rathi, is a mutually beneficial arrangement that maximizes revenue for both exhibitors and producers. Rahul Dhyani and Anish Patel, founders of Connplex Cinemas Limited, see 'Pushpa 2' as a game changer, anticipating a significant boost to the exhibition industry through this longer theatrical run.
Despite the consensus on the eight-week window, questions remain about its efficacy and applicability across all South Indian films. The success hinges critically on the film's content and its ability to attract audiences to theaters. The argument arises that if the original language versions of a South Indian film release early on OTT platforms while only the Hindi dubbed version follows the eight-week rule, the intended benefit may be partially negated. Producer and film expert Girish Johar points out the complexity of this situation, expressing concern about the inconsistency in windowing patterns for the same film across different languages and markets. The varying release schedules create potential conflicts and highlight the necessity of a unified approach for maximizing returns. Furthermore, Johar raises the issue of the economic disparity between cinema tickets and OTT subscriptions, pointing out that cinema-goers pay significantly more for a theatrical experience and that the current system indirectly promotes OTT platforms through on-screen advertisements within cinemas themselves. This, he argues, needs careful consideration.
The discussion also touches upon the Hollywood model, where the theatrical window is significantly longer – often six months or more. While not advocating for such an extended window in India, Rathi highlights the benefits of a longer theatrical run for both exhibitors and producers, enabling a greater return on investment. This model demonstrates that a prolonged theatrical release strategy can be highly lucrative. The contrasting models highlight the ongoing debate surrounding the ideal balance between theatrical releases and the immediate accessibility offered by streaming platforms. Johar succinctly summarizes the prevailing sentiment within the industry: that box office success should remain the primary focus, compelling filmmakers to prioritize the creation of compelling content that draws audiences back to cinemas.
In conclusion, the shift towards an eight-week theatrical window for South Indian films dubbed in Hindi represents a significant development in the evolving relationship between cinema exhibition and OTT platforms. While 'Pushpa 2' serves as a pivotal example, the long-term success of this model will heavily depend on the quality of the content released and the effectiveness of the new strategies in encouraging viewers to choose the theatrical experience over immediate streaming access. The economic implications, both for the cinema industry and the streaming services, along with the potential conflicts arising from variations in release schedules for different language versions, highlight the complex and dynamic nature of this ongoing transformation within the entertainment industry.