OTT
In the last decade, India has witnessed a massive shift in entertainment consumption. The rise of Over-The-Top (OTT) platforms like Netflix, Amazon Prime Video, Disney+ Hotstar, ZEE5, SUN NEXT and regional giants like Aha and Hoichoi has altered Indian cinema. The convenience, diversity, and accessibility of OTT have made it an integral part of everyday entertainment. With this rapid change, a question looms large: is traditional cinema, especially theatrical viewing, on the verge of extinction?
India’s digital revolution, fueled by affordable smartphones and inexpensive internet (thanks to Jio), laid the groundwork for OTT platforms to flourish. Initially perceived as an urban phenomenon, OTTs have now penetrated Tier 2 and Tier 3 cities, offering regional content in languages like Tamil, Telugu, Bengali, Marathi, and more. The COVID-19 pandemic acted as an unexpected catalyst, with cinema halls shut for months and producers opting for direct-to-digital releases. Movies like Gulabo Sitabo (Hindi), Soorarai Pottru (Tamil), CU Soon (Malayalam), and Bulbbul (Bengali-Hindi) found enthusiastic audiences online.
OTT platforms have provided a level playing field for regional filmmakers. In South India, Tamil and Telugu cinema have long enjoyed loyal fan bases, but now platforms like Aha (Telugu) and Simply South have brought regional films to global audiences. Jai Bhim (Tamil) and Drishyam 2 (Malayalam) received international acclaim largely due to OTT exposure.
In the East, Hoichoi has become a hub for Bengali cinema and web series, reviving interest in a film industry that once produced legends like Satyajit Ray and Ritwik Ghatak. Marathi and Gujarati content too have found homes on ZEE5 and SonyLIV. These platforms have enabled experimentation and storytelling that may not find space in the glitzy world of Bollywood or mainstream cinema.
The Hindi film industry, or Bollywood, has had a mixed reaction to the OTT craze. While some big-budget films still prioritise theatrical releases for box-office gains, others have embraced digital-first strategies. OTT has allowed filmmakers to explore taboo topics, niche genres, and realistic storytelling without the burden of censorship or commercial expectations. Series like Delhi Crime, Sacred Games, and Made in Heaven broke new ground in narrative style and content boldness.
However, Bollywood’s obsession with star power still holds sway in theatres. Films featuring Khans and Kapoors often continue to draw crowds, but the gap between content-driven films and star vehicles has become stark. OTT has democratized talent — today, actors like Jaideep Ahlawat, Shefali Shah, and Pratik Gandhi enjoy massive followings due to their work on digital platforms.
Today’s Indian audience is more discerning. With access to global content, they expect quality storytelling. OTT platforms offer personalisation, choice, and the comfort of watching anytime, anywhere. For many, going to the theatre, with high ticket prices, limited movie options, and logistical challenges, is no longer appealing. Families can now watch a variety of films across genres and languages at home, often for the cost of a single movie ticket.
Still, movie-going is deeply embedded in Indian culture. Especially in Southern India, watching a film in theatres remains a celebration, complete with fan clubs, firecrackers, and posters. Star-studded films like RRR, KGF: Chapter 2 and Pushpa 2 prove that theatrical releases can still break records and create frenzy. In this sense, traditional cinema may be evolving rather than dying.
Cinema halls are far from obsolete, but they are being forced to adapt. Multiplex chains are investing in better experiences, recliner seats, gourmet snacks, luxury screenings to lure audiences back. Event films, 3D spectacles, and festival releases continue to drive footfalls. Moreover, regional mass-market entertainers like Pushpa, Sarkaru Vaari Paata, and Bhool Bhulaiyaa 2 have done exceptionally well post-pandemic.
Theatres are likely to become venues for big, immersive experiences, while OTTs will cater to personal, niche viewing. It’s a bifurcation rather than a battle.
While OTT offers opportunities, it also comes with challenges. The market is flooded, and attention spans are shrinking. Subscription fatigue is real, and content discoverability is a growing problem. Moreover, questions about censorship, data privacy, and regulation are looming. The Indian government is beginning to bring OTT under certain content codes, which could affect creative freedom in the future.
Is traditional cinema dying? The answer is, not yet, and perhaps, never completely. It is evolving. The rise of OTT has democratized access, empowered regional voices, and challenged the dominance of commercial cinema. But the collective thrill of watching a film in a darkened theatre, surrounded by fellow fans, remains unmatched for many Indians.
What we are witnessing is not the death of cinema but the diversification of it. OTT and traditional cinema will likely coexist, serving different purposes and moods. One offers intimacy, the other, grandeur. And both, in their own ways, continue to fuel India’s undying love for storytelling.
By: J Niveditha
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