Hindi
PVR Cinemas pilots the Delhi Edition of the Year Round Programme by MAMI
MUMBAI: PVR Cinemas, with its storied history of becoming the leading exhibitor and an eminent platform for all things cinematic launched the Year Round Programme by Mumbai Academy of Moving Image (MAMI) in Delhi.
An epic city-wide celebration of global filmmaking culture and star-studded special screening at PVR ECX, Chanakya marked the official curtain call of the programme’s Delhi Edition. The two-day launch event premiered two of the most sought-after films of the year – Wes Anderson’s Isle of Dogs and Ari Aster’s Hereditary on the 9th & 10th of June 2018 ahead of their India release.
The launch party was officially opened by Ajay Bijli, Managing Director, PVR Ltd and Sanjeev Bijli, Joint Managing Director, PVR Ltd; along with Board Members of MAMI – Zoya Akhtar, Anurag Kashyap, Vishal Bharadwaj and the leadership team of MAMI – Anupama Chopra and Smriti Kiran bringing the best and latest films from all over the world to a city that has always spearheaded support in cultivating art and culture.
PVR Ltd, Managing Director, Ajay Bijli said “Year Round Programme by MAMI represents one of the first opportunities for audiences in Delhi to see the very best from across the globe. This was a natural progression for us to support. PVR has always encouraged and facilitated people to build a relationship with a broad range of films, ensuring that film culture can be accessed and enjoyed by everyone across. With this launch, PVR aspires to bring together distinguished industry specialists and discerning movie lovers through accessible screenings, panels, workshops and showcasing cinema that embraces diversity, innovation and unique perspectives. Aimed at featuring critically acclaimed filmmakers, industry professionals, and award-winning talent around the world, this programme is rich with opportunity – to stay informed, be challenged, feel the pleasure of escape and see the world differently.”
Anupama Chopra said, “I am thrilled that in the 20th year of MAMI, we are stepping out of Mumbai. We hope we can help foster a great cinema culture in Delhi. Thank you PVR for all your support.”
PVR Ltd, Joint Managing Director, Sanjeev Kumar Bijli said “We are delighted to partner with MAMI and launch a screening event in the national capital, Delhi. Led by Kiran Rao, Anupama Chopra and Smriti Kiran, MAMI has established itself as a premier film festival and is recognized globally as a platform to showcase some of the best cinema in the world. From the red carpet premiers, to the carefully selected and curated films, it’s an event that everyone looks forward to. At PVR, we are proud of our ongoing association, and it gives us immense pleasure to be able to bring this to our ardent fans of great cinema in Delhi.”
MAMI, Creative Director, Smriti Kiran said “We are so thrilled to get the MAMI Year Round Programme to the film lovers in Delhi! Our commitment is to showcase the best of the cinema for movie lovers and create a strong film culture in the city. To alter sensibility, you have to engage regularly and facilitate viewers to celebrate and dissect, discuss and debate, engage and argue, agree and disagree about what they love most: Cinema. We are grateful to PVR Cinemas for being the MAMI champions and partnering with us yet again in our endeavour to nurture audiences and build a cinema viewing culture for the cinephiles in the country. We have big plans for Dilli!”
The MAMI Year Round Programme launched in 2016 in Mumbai, is a one of a kind film programme started with the belief that it is not enough to have a week-long film festival. The Academy now hosts weekly screenings, workshops and conversation sessions for film lovers in the country. This has given us a year-long imprint and presence as opposed to presence only for a week in the year. Through this unique curation, passionate movie nuts can sign up and get free access to the best and latest Indian and International films throughout the year.
What makes the Delhi Edition even more special is that it will happen at the newly launched PVR ECX, Chanakyapuri. The property holds great nostalgic value for Delhiites as it is the brand new avatar of the iconic Chanakya cinema showcasing a wide spectrum of great content that is the cornerstone of MAMI.
Till date, The MAMI Year Round Programme in Mumbai has screened over 40 films which include Lady Bird, The Square, Zama, The Shape of Water, Three Billboards Outside Ebbing Missourie and Village Rockstars. There are about 7000+ members enrolled for this programme.
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.
