MAM
GroupM launches South cinema audience behaviour report
Mumbai: GroupM, WPP’s media investment group, has launched the South Cinema audience behaviour report. This report sheds light on the movie-going habits of the South Cinema audience and provides valuable insights to advertisers and marketers.
According to the report, ‘watching a movie at a theatre’ has the highest monthly average frequency of all outdoor leisure activities among South cinema audiences – with an average of 1.8 visits per month, translating to 22 visits annually. The report also reveals that 8 out of 10 South Cinema audience visit a theatre at least once a month, which is twice the national average.
Commenting on the report, GroupM India MD – cinema and OOH Ajay Mehta said, “Our report is a game-changing tool for marketers and advertisers looking to engage with South Cinema audience. By shedding light on the unique preferences and behaviours of this audience, we can now tailor our campaigns to resonate with them on a deeper level. A noteworthy example is the exceptional success of ‘Jailer,’ starring Rajinikanth, which has become the top-grossing Tamil film in India. Impressively, ‘Jailer’ ranks as the second fastest Tamil film to amass an astonishing Rs 550 crore worldwide at the box office. The fact that a heavy cross-section of South Cinema audience is watching 32 movies in a year highlights the immense potential of this market. With the South cinema audience behaviour report, we are equipped with the insights needed to tap into this potential and drive real business results.”
The report further highlights that ‘heavy’ South moviegoers visit the cinema on an average of 32 times annually, which is 20 visits more than the national average. Further, the heavy cross-section of South Cinema audience from Andhra Pradesh & Telangana and, Kerala watches 36 movies in a year.
The report also throws a light on language preferences among the South Cinema audience.
In Karnataka, Telugu is the second most preferred language among those preferring Kannada, while in Kerala, Tamil is the second most preferred language for those preferring Malayalam. The report also suggests that horror/thriller is the top genre for visiting a cinema in Andhra Pradesh & Telangana and, Kerala.
Andhra Pradesh & Telangana cine-goers prefer to watch a movie on the first day with a preference of 66 per cent for any show on the first day. Apparently, all South cinema audience consider nearby theatres.
The South Cinema Audience Behaviour Report provides marketers and advertisers with valuable insights into the preferences and behaviors of Southern states regular cine-goers.
The data and insights from this report will enable advertisers to create more effective marketing campaigns and better connect with the South Indian audience.
References:
* All India average cinema visits are for the year 2017 and quoted from a study conducted in 2017.
Digital
Content India 2026 opens with a copro pitch, a spice evangelist and a £10,000 prize for Indian storytelling
Dish TV and C21Media’s three-day summit puts seven ambitious projects before an international jury, and two walk away with serious development money
MUMBAI: India’s content industry gathered in Mumbai this March for Content India 2026, a three-day summit organised by Dish TV in partnership with C21Media, and it wasted no time making a statement. The event opened with a Copro Pitch that put seven scripted and unscripted television concepts before an international panel of judges, and by the end of it, two projects had walked away with £10,000 each in marketing prize money from C21Media to support development and international promotion.
The jury, comprising Frank Spotnitz, Fiona Campbell, Rashmi Bajpai, Bal Samra and Rachel Glaister, evaluated a shortlist that ranged from a dark Mumbai comedy-drama about mental health (Dirty Minds, created by Sundar Aaron) to a Delhi coming-of-age mystery (Djinn Patrol, by Neha Sharma and Kilian Irwin), a techno-thriller about a teenage gaming prodigy (Kanpur X Satori, by Suchita Bhatia), an investigative crime drama blending mythology and modern thriller (The Age of Kali, by Shivani Bhatija), a documentary on India’s spice heritage (The Masala Quest, hosted by Sarina Kamini), a documentary on competitive gaming (Respawn: India’s Esports Revolution, by George Mangala Thomas and Sangram Mawari), and a reality-horror competition merging gaming and immersive fear (Scary Goose, by Samar Iqbal).
The session was hosted by Mayank Shekhar.
The two winners were Djinn Patrol, backed by Miura Kite, formerly of Participant Media and known for Chinatown and Keep Sweet: Pray & Obey, with Jaya Entertainment, producers of Real Kashmir Football Club, also attached; and The Masala Quest, created and hosted by Sarina Kamini, an Indian-Australian cook, author and self-described “spice evangelist.”
The summit also unveiled the Content India Trends Report, whose findings made for bracing reading. Daoud Jackson, senior analyst at OMDIA, set the tone: “By 2030, online video in India will nearly double the revenue of traditional TV, becoming the main driver of growth.” He noted that in 2025, India produced a quarter of all YouTube videos globally, overtaking the United States, while Indians collectively spend 117 years daily on YouTube and 72 years on Instagram. Traditional subscription TV is declining as free TV and connected TV gain ground, forcing broadcasters to innovate. “AI-generated content is just 2 per cent of engagement,” Jackson added, “highlighting the dominance of high-quality human content. The key for Indian media companies is scaling while monetising effectively from day one.”
Hannah Walsh, principal analyst at Ampere Analysis, added hard numbers to the picture. India produced over 24,000 titles in January 2026 alone, with 19,000 available internationally. The country now accounts for 12 per cent of Asia-Pacific content spend, up from 8 per cent in 2021, outpacing both Japan and China. Key exporters include JioStar, Zee Entertainment, Sony India, Amazon and Netflix, delivering over 7,500 Indian-produced titles abroad each year. The top importing markets are Saudi Arabia, the UAE, Egypt, the United States and the Philippines. Scripted content dominates globally at 88 per cent, with crime dramas and children’s and family titles performing particularly strongly.
Manoj Dobhal, chief executive and executive director of Dish TV India, framed the summit’s ambition squarely. “Stories don’t need translation. They need a platform, discovery, and reach, local or global,” he said. “India produces more movies than any country, our streaming platforms compete globally, and our tech and creators win international awards. Yet fragmentation slows growth. Producers, platforms, and tech move in different lanes. We need shared spaces, collaboration, and an ecosystem where ideas, technology, and people meet. That is why we built Content India.”
The data, the pitches and the prize money all pointed to the same conclusion: India is not waiting for the world to discover its stories. It is building the infrastructure to sell them.
