Hindi
Annex between India, UK will help co-productions in cinema
NEW DELHI: Producers from the United Kingdom and India would be able to make films reflecting the diversity of culture and heritage of both the countries and enjoy national status in the two places, according to the Annex to the Indo-UK Film Co-Production signed today.
The Annex was signed by Joint Secretary (Films) in the Information and Broadcasting Ministry VB Pyarelal and Deputy British High Commissioner Creon Butler.
The Annex elaborates the various requirements for Film Co-production under the Agreement signed in December 2005 between the two countries. It also provides rules of procedure for operationalisation of the Agreement.
The Annex has been finalized after negotiation with the British Government and consultation with the Indian film industry. The aim is to ensure that benefits accrue to the co-producers of both the countries. The Annex shall come into force as soon as the parties have notified each other on the completion of their respective legal and constitutional procedures.
The co-produced films would gain better market access in some other countries also. The Indian community in the UK represents the single largest ethnic segment of the country’s population. As a sizeable percentage of the population in UK is Asian, films produced under this segment would have a ready audience.
It is expected that the cost-competitive Indian film industry including the post production sector will stand to gain from the agreement. Some of the benefits that will accrue from this agreement include shared financial risks as well as larger audience base. The pact could lead to greater use of Indian locales and their promotion abroad. For this sector, UK could also act as a gateway to many countries in the European region.
India also has similar co-production agreements with Germany, Italy, and Brazil, and agreements are also be signed shortly with some other countries including France, Canada, South Africa, Hungary, and China among others.
India already has an existing protocol on cinema with the French Government signed in 1985. The Ministry now wants to re-write the protocol/agreement according to the requirements of today.
Italy was the first country to have signed a co-production agreement with India for producing films. The purpose of this agreement was to increasingly use Italian locations for Indian movies, to increase collaboration in animation and post-production and to foster transfer of know-how in the field of old film restoration.
India and Brazil signed an Audio-Visual Co-production Agreement in June last year under which many film and television companies from Brazil would be able to work with Indian companies to outsource work in different spheres of film production under an Audio-Visual Co-production signed between the two countries.
This will include work relating to special effects, graphics and animation and producers from both countries get an opportunity to pool their creative/artistic/technical, financial and marketing resources to co-produce film and television programmes.
Under the Agreement, more Indian locales can be utilized for shooting films, thus raising the visibility of India as a shooting destination. With the liberalization of shooting guidelines for foreigners shooting films in India, there has been a marked increase in films being shot in India.
Risks also get shared and there is wider natural audience base. The post- production sector of the Indian film industry will also gain from such an agreement.
Hindi
GUEST COLUMN: Why film libraries & IPs are the new engines of growth
Unlocking value through catalogue strength and IP synergy
MUMBAI:In a media landscape defined by fragmentation, platform proliferation, and ever-evolving audience behavior, the economics of filmmaking are undergoing a fundamental shift. No longer confined to box office performance, a film’s true value is now measured across an extended lifecycle that spans digital platforms, syndication networks, and global markets. As content consumption becomes increasingly non-linear and algorithm-driven, film libraries and intellectual properties (IPs) are emerging as strategic assets, capable of delivering sustained, long-term returns. For Mohan Gopinath, head – bollywood business at Shemaroo Entertainment Ltd., this transformation signals a decisive move from hit-driven models to portfolio-led value creation. In this piece, Gopinath explores how legacy content, when intelligently repurposed and distributed, can unlock recurring revenue streams, why the interplay between catalogue and original IP is critical, and how media companies can build resilient, future-ready entertainment businesses.
For all these years, we thought that a film is successful if it performs well in theatres. There are opening weekend numbers, box office milestones, and distribution footprints that gave a good picture of how the movie has done commercially and also tell us about its cultural impact. However, there are multiple platforms today, always-on content ecosystem, which has caused a shift. Today, the theatrical performance is not the culmination of a film’s journey but merely the beginning of a much longer and more dynamic lifecycle.
Film libraries today are emerging as high-value, constantly evolving assets that deliver sustained returns well beyond initial release cycles. This becomes a point of great advantage for legacy content owners with diverse catalogues, to shape long-term business outcomes.
According to FICCI-EY, the media and entertainment industry of India achieved a valuation of Rs 2.78 trillion in 2025 which is expected to reach Rs 3.3 trillion by 2028 through a compound annual growth rate of approximately 7 per cent and digital media will bring in more than Rs 1 trillion to become the biggest sector which generates about 36 per cent of overall market revenues.
This shift is the expansion of distribution endpoints. We know how satellite television was once the primary secondary window but today, it coexists with YouTube, OTT platforms, Connected TV, and FAST channels. Each of these platforms caters to distinct audience demographics and consumption behaviors, helping content owners to obtain more value from the same asset across multiple formats.
For instance, films that had great reruns, now find continuous engagement across digital platforms. On YouTube, classic Hindi cinema continues to attract significant viewership, reaching audiences across generations and geographies with remarkable consistency. At Shemaroo Entertainment, this is reflected in our film library shaped over decades as part of a long association with Indian entertainment. From classics such as Amar Akbar Anthony to much-loved entertainers like Jab We Met, Welcome, Dhamaal, Phir Hera Pheri, Dhol, Golmaal, and Bhagam Bhag, many of these titles continue finding new audiences while retaining their place in popular memory. Their enduring appeal reflects how culturally resonant stories can continue creating value over time. Similarly, FAST channels have created curated, always-on environments where catalogue content can continue to thrive through star-led and genre-based programming.
This multi-platform approach has very well transformed films into long-tail IP assets which are capable of generating recurring revenue across advertising, subscription, and syndication models.
The evolution of audience behavior is equally important. Nowadays, it’s more important to find what’s more relative than what’s recent as viewers are more influenced by mood, memories, and algorithmic suggestions than by release schedules. Even if a movie was released decades ago, it can trend alongside a newly released movie, if surfaced in the right context. Thoughtful packaging, whether through festival-based playlists, actor-driven collections, or genre clusters, allows catalogue content to remain dynamic and continuously discoverable. Shemaroo Entertainment has built extensive film libraries over decades and its focus has mostly been on recontextualizing content for the consumption of newer environments. This process doesn’t just include digitization and restoration, but also re-packaging of films as per platforms.
Syndication itself has evolved into a key growth driver. In perspective, when looking at the domestic market, curated content packages continue to find strong demand across broadcast and digital platforms. Meanwhile, in the international market, especially in markets like Middle East, North America and Southeast Asia, the appetite for Indian content is opening up new monetization avenues. Here, the ability to package and position catalogue content effectively becomes as important as the content itself.
Importantly, the need to re-package catalogue content does not diminish the role of new content. In fact, originals and fresh IP are essential to sustaining the long-term value of a film library because they act as discovery engines that bring audiences into the ecosystem, while catalogue content drives depth, retention, and repeat engagement.
This interplay between the “new” and the “known” is what defines a robust content strategy today. While new films generate spikes in consumption, catalogue titles offer familiarity and comfort. These are factors that are increasingly valuable in an era of content abundance and decision fatigue. This is also shaping our strategy, drawing value from both a deep catalogue assets and a growing focus on original IPs to strengthen long-term audience engagement and build more predictable revenue streams.
There is growing recognition that long-term value in entertainment will be shaped not only by how intelligently existing content continues to live, travel and find relevance, but also by how consistently new stories are created to renew that ecosystem. In that sense, film libraries and original IP are not parallel bets, but reinforcing engines of growth. For media companies, the opportunity lies in making these two forces work together, because that is increasingly where more resilient and predictable businesses are being shaped.
Note: The views expressed in this article are solely the author’s and do not necessarily reflect our own.
