Hindi
LA India Film Council proposes setting up Film Commissions in India
MUMBAI: The LA India Film Council has proposed to set-up of Film Commissions in India and also its operational framework at a national and state level. In its latest report titled – Unleashing the power of film tourism: the first step – LA India Film Council has highlighted India’s potential to become a preferred film shooting destination.
The role of a Film Commission is to serve as a local government liaison, to provide and coordinate public and private services for film shoots, attract foreign productions to India, create a sustainable ecosystem that benefits both international productions and the local economy through effective film incentive programs and promote film tourism.
The report also assessed the current single window clearance mechanism for film shooting, recommended solutions to build a strong production tax regime in the country and highlighted global best practices to promote film tourism in the country.
India has natural advantages in terms of scenic locations, incredible cultural diversity, trained film crews and low production costs to attract film productions. The current Single Window Clearance Mechanism to support productions is a welcome step by the film industry, however multiple challenges faced during the clearance process at the regulatory and administrative level – including procedural hurdles during the application stage – undermine the potential of film production and its allied industries to grow.
In 2014, the media and entertainment industry was recognized as one of the top 25 sectors in the ‘Make in India’ initiative. Transforming India into a global film-shooting destination will require establishing an effective single window clearance system to simplify and expedite flow of information between various government bodies and the industry in an efficient and resourceful manner.
MPA, Asia Pacific president and managing director Mike Ellis said, “India’s film and television industry is one of the largest and fastest growing sectors in the country, and there has been a renewed surge of investment into the country by global companies. Simplification of clearance procedures for film shooting, support to productions through a robust tax incentive regime, and adopting global best practices, will help to attract big budget productions and in turn boost inbound tourism.”
Film & Television Producers’ Guild of India (FTPGI) president Mukesh Bhatt added, “A Film Commission should be an independent full time body and involve participation from film industry stakeholders who have the experience and understand the film making process. Moreover, it would really help if the members of the Film Commission were compensated either project-wise or on payroll. This would ensure active participation by members.”
U.S. Consul General Thomas L. Vajda opined, “There is great potential for expanded collaboration between our film and entertainment industries. Whether it is Indian studios shooting in the United States, US studios filming here in India, developing strategies for intellectual property protection, or sharing knowledge on production methods and technologies, both countries can benefit from efforts to bring our film and entertainment industries closer together. We look forward to working with partners here in India to provide knowhow, experience, and whatever other value we can to take this relationship forward.”
Consul General Canada, Mumbai Richard Bale asserted, “With Canada and India having signed a bilateral Audio-Visual Co-Production Agreement in 2014, India has a wonderful opportunity to attract Canadian producers and directors to shoot in India. Improving the ease of doing business in the film sector through the establishment of Films Commissions and a transparent framework of incentives would be very effective next steps for India to build on the new interest in India among Canadian filmmakers.”
FICCI president Jyostna Suri opined, “Our country has a vast wealth of spectacular terrain and it is important that we explore and exhaust avenues of locale shooting for entertainment with state governments as our partners. This can only happen in the true spirit of a public-private model. Through effective film tourism and enhancing our locales, we will lay strong foundations for India as the most dynamic destination for international stakeholders, generating local revenues and jobs and providing on-the-job skills for the workforce.”
Setup in 2010 by a joint declaration between the City of Los Angeles and the Indian film industry, the Council continues to provide new platforms to foster knowledge exchange and partnerships between stakeholders in the US and the Indian media and entertainment industries.
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.
