Hindi
New distribution avenues obviate docu filmmakers’ dependence on state: IDPA
NEW DELHI: The scene appears to be changing for makers of meaningful short, documentary and animation films.Though the multiplex culture has shrunk distribution possibilities in the cinema hall, those associated with this genre of cinema are no longer despondent, with many more channels including television channels and portals accepting their films and paying for them, albeit in small sums. In addition, there are the new entrepreneurs who are taking packages of small films to rural or semi-urban areas or schools and colleges, and showing these films and then indulging in discussions.
This was the general outcome at the open forum organised by the Indian Documentary Producers‘ Association (IDPA) in collaboration with the Films Division. Those who attended the forum agreed that there was no need for filmmakers to depend on state support either for financing or exhibition outlets as technology had opened newer avenues.
Nautanki.tv COO Vikram Prabhu said that he launched the portal after he had collected a large sum of money to make a feature film, a project he was forced to give up for various reasons. He then started the portal which is now showing features and non-features on mutually agreed business models. The online TV channel is now viewed by people all over the country and abroad, and is encouraging filmmakers to approach him to put their film online. He said he was surprised to learn that the number of people interested in seeing short films was very large.
Rakesh Sharma, whose film The Final Solution had won several awards a couple of years ago, said there exist a variety of avenues for short films. He said that it was perhaps ironical that his film had done well because it was banned, but there were demands from different parts of the country for the film. He has now allowed all portals to “pirate and circulate” his film on condition that they buy at least one print. Very often those who pirate the films come back to him as they are not satisfied until they have the original. He sells his prints at subsidised rates as that helps him show it all over the country and overseas. He has, so far, managed to sell 18,000 DVDs of The Final Solution and 8,000 copies of Aftershocks, both based on events in Gujarat.
Sharma asked why a portion of the huge entertainment tax collected by the governments was not being ploughed back into the industry. He also questioned why there was no subsidy for distribution, and why multiplexes were not showing short films despite the fact that they had been given a five-year tax holiday. A condition could have been laid before giving the tax holiday that at least one screen be devoted to short films. He also said filmmaking was no longer capital intensive since one could make a film and edit it on a PC. He suggested that short filmmakers put promotionals of other filmmakers in their films.
Saratchandran and P Babu Raj related their experiences of how they had taken their own films and those of others to different parts of Kerala where audiences and students took part in discussions. Saratchandran said that some television channels in Kerala like the terrestrial channel Kerala Vision were devoted to documentary films.
Babu said dependence on Doordarshan had become futile and therefore filmmakers had to find their own outlets. Entrepreneur Subhash Chheda also agreed and said good money could be made with wise screenings in semi-urban and rural areas.
Gargi Sen, a distributor of short films, said this was done on a 65-35 basis. However, she also added that she only had 130 films with her.
Vidyarthi Chatterjee who conducted the discussion said it was futile depending on the state or on Doordarshan, while NDTV producer Gunjan Jain said her channel was now acquiring documentary films.
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.
