Reply With QuoteMaharashtra angane aanu cheyyan udeshikkunnathu
Originally Posted by anupkerb1
agane open akan theatre ready akumo .open ayi pooti veendum open ayi pooti ninal avark valia nastam tane akileee
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Maharashtra angane aanu cheyyan udeshikkunnathu
Malayalam filmsinu kittiya advantage over other languages OTT platformil Malayalam nalla reethiyil thanne perform cheyynnundu with so many hits like C u soon , Drishyam 2, Saras , Great Indian Kitchen, Saras , Home etc. Indiayil thanne vere oru industryum OTT platformil ithra nalla reethiyil perform cheythittilla ennanu enikku thonnittullathu. Telugu and Tamil oru paritdhi vare manage cheyyunnundu. Kannada OTT releases failure aanu.
In spite of Covid because of OTT Malayalam film releases close to 100 ethittundu theatre and OTT together
Kannada content struggles for space on OTT platforms
With the mushrooming of streaming platforms, movies and soap operas have become accessible in living rooms across the country, breaking region and language barriers. Among the south Indian industries, Malayalam, Tamil and Telugu movies have made their presence felt across the country on various over-the-top (OTT) platforms over the last few years, with a steady increase in non-native audiences. But, even in this gold rush, Kannada contents are still struggling to find a space for themselves.
While a handful of Kannada movies have managed to do reasonably well on streaming platforms, regional content creators from the industry overall have struggled to find a slot on OTT platforms. In 2020, a Kannada web-series – Honeymoon – had a similar fate when it was not accepted by any platform. Later, a Telugu OTT platform, impressed by the content, did decide to stream it, but only after dubbing it in Telugu.
Pawan Kumar, director of the movie U-Turn, which was the first Kannada movie to get an OTT release, said that while some Kannada movies have managed to find a space in India’s OTT experiment, they were not a success story as big as Malayalam industry. “Over the years, because of various movies in our language coming out on OTT platforms, Kannada content did get some exposure, but it has not been able to create a buzz like contents from Malayalam and other south Indian industries. It was this buzz and word-of-mouth that helped our neighbouring industry become so popular on OTT services. People went looking for Malayalam movies because of the buzz,” said Kumar.
Kannada movie director Hemanth Rao, who was also a co-writer for the Hindi movie Andhadhun, took examples of short films to put his point across. “If you compare the views a Kannada short film and a Telugu short film has received, you will see the audience for the Kannada short film is less. Even the most popular short films in Kannada will have around only one million views. OTT work is based on market response. This is a reason for the poor response for Kannada content on OTT,” said Rao.
An executive working with one of the streaming platforms that plans to expand its southern content, agreed with the lack of response to Kannada content.
“In the entire country, Bengaluru reports the highest subscriptions and views. At the same time, the business from the rest of Karnataka is not as big. If you look at Bengaluru, the demand is not for Kannada content, but audiences here watch everything from international movies to regional movies. It is often the quality of movies or the buzz around them that attracts them. Kannada content per se doesn’t have such demand. One of the reasons is the low subscriptions from rest the state,” he said.
However, several film critics said that compared to the other southern industries, Kannada is yet to find its niche and more importantly, the number of quality films made in the language is limited. “If you look at the Malayalam industry, post-2010 there was a paradigm shift in the movies that came out of there. The quality of the movies ensured that there was an audience for these movies across the country,” said a senior film journalist with an online platform, who didn’t want to be named.
“At the same time, Kannada movies continue to produce the so-called ‘event movies’, where the movie revolves around a superstar, and it is a spectacle created for his fans. Such a movie will never get a national audience. Yes, there have been some movies, like Thithi, but we could count the number of such movies on fingers,” she added.
The above article shows how well Malayalam industry fared in OTT platform. Ithu mathram alla vere kure articles undu about the success story of Malayalam film industry in OTT. Our low budgets have helped the situation
When the pandemic struck, the film industry came to a standstill. Shoots were halted and with theatres identified as high risk areas, the future seemed bleak and uncertain. But, some from the industry were quick to analyse the scenario and adapt to it. The first south Indian film to be made for a direct Over-the-Top release during the pandemic was C U Soon.
Apart from the plot and its actors, it is also the making of the movie that left audiences stunned. Director Mahesh Narayanan and producers Fahadh Faasil and Nazriya Nazim decided to make C U Soon during the pandemic to help people in the industry earn a living. It was shot and released in September last year, at a time when film industries across the globe were still coming to terms with the coronavirus outbreak and the pandemic-induced lockdowns.
Around C U Soon's release, there were reports about the Film Exhibitors Union of Kerala (FEUOK) being unhappy with Fahadh opting for OTT. However, the issue was resolved with Fahadh reportedly promising the FEUOK that he will not release another film on OTT in the immediate future. But with the pandemic raging on, Fahadh moved on with more films, shot and released during this period. With a number of subsequent Over-the-top (OTT) releases, Fahadh has proven to be one of the few south Indian actors who have managed to adapt to OTT platforms and utilise the medium to its fullest.
CU Soon was the first Malayalam film designed for OTT and also shot during the pandemic. Fahadh Faasil is the undisputed superstar of OTT from Malayalam cinema and his films have all been successful on OTT,” Malayalam film critic Neelima Menon tells TNM. Dileesh Pothan’s Joji, which is inspired by Shakespeare’s Macbeth, was again among the first few Malayalam films to be shot during the pandemic. While the story does not revolve around the pandemic, the makers were appreciated for skillfully integrating it into the plot. In one scene, we see both masked and unmasked members attending a funeral, reiterating how the pandemic has instilled a palpable sense of fear and posed the threat of death that is still looming over us, at large. Featuring Fahadh, Baburaj, Shammi Thilakan, Unnimaya Prasad and Basil Joseph among others, Joji was filmed at the end of 2020 and the beginning of this year, in Kerala. The movie released on streaming platform Amazon Prime Video on April 7 this year.
Thriller film Irul marked actor Fahadh’s third OTT release post the coronavirus pandemic. Featuring only the three lead characters (Darshana Rajendran, Soubin Shahir and Fahadh), the Naseef Yusuf Izuddin directorial released in Netflix on April this year. The film was shot during the COVID-19 lockdown that was in place in September and October last year. With most of the film being set indoors, Irul was reportedly shot within a single schedule. The 39-year-old actor’s latest film, Malik was initially slated for theatrical release but subsequently premiered on Amazon Prime Video. Interestingly, both CU Soon and Joji were bankrolled by Fahadh Faasil and Nazriya under their home banner Fahadh Faasil and Friends.
Below 10% positivity rate varunna vare theatre thurakkilla ennu thonnunnu
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TE=Akhil krishnan;8687811][/QUOTE]
https://timesofindia.indiatimes.com/...w/86546434.cms
One question in this article. Liberty Basheer ippozhum theatre association president aano. But wide release regular aayi nadakkunundalo. He was against wide release.
Annu Dileep ayale purathu aakiyille.
Liberty Basheer is President of Film Exhibitors Federation.
Dileep and Antony formed Film Exhibitors United Organisation of Kerala (FEUOK).
Many theatre owners quit the former and joined the latter.
Both organisations still exist.
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