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OTT Platforms Are Leaving The Multiplex Owners Into Huge Trouble Amid Pandemic

Theater owners are worried that the streaming channels will gradually shift the common film-watching experience when the doors are opened once again

In its call for the publication of feature films on the big screen, the Indian Multiplex Association (MAI) has called on the artists, producers or creators to reopen the theater instead of releasing OTT directly due to the continuous lockdown.

Theater owners are worried that the streaming channels will gradually shift the common film-watching experience when the doors are opened once again, when cinema halls are shut and movies are being published when the nation is locked down.

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India is currently locked up for 21 days with nearly 1,3 billion people being asked to remain in the country because of the coronaviral disease epidemic which, according to the Union Ministry of Santé, infected more than 2,300 people on Friday and the death rate increased to 56.

Staying here is a pandemic condition in which most of us are. Of default, the longer we sit at home, the more we cling to the computers. Now that no movies are in view owing to the closure of theater and TV shows stuck across Canada, the OTT channels are what everyone considers solace. Web shows have actually become one of the best tools for boredom avoidance, and the platforms also ensure the audience is free to choose from.

In this period of lockout, it may appear that the option of a digital release is wise to filmmakers. Film theater owners are not too pleased with this change in approach, as their longstanding business partners are.

Zero sales and the biggest failure ever in their company is in the film display industry. Theater owners prohibit actors, not asking for theater releases, from sending their films to online sites.

In the Indian film industry, the pandemic of Covid-19 was a potential phenomenon. A number of cinema directors have not agreed to wait until the lockout finish, instead of queuing for a theatrical release when their theaters are reopened, to transfer their movies to online sharing sites.

Among the finalized titles are Amitabh Bachchan and Ayushmann Khurrana’s lead Gulabo Sitabo produced by Shoojit Sarkar, whose rights have been purchased by Amazon Prime Video and Laxmmi Bomb Akshay Kumar Starrer, whose Fox Star Studios partners are streaming horror comedy on their own channel, Disney+Hotstar.

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Also under discussion are some ones, including Shakuntala Devi-Human Machine, Karan Johar’s Saxena, Kargil Kargil ‘s Star Shakunta, two other Amitabh Bachchan, Jhund and Chehre, as well as Anurag, Ludo’s Basu, with Abhishek Bachchan and Aditya Roy Kapur. There are two other film tales, including Bhumi Pednekar-starrer.

Development company T-Series, which includes the Kiara Advani star Indoo Ki Jawani, is allegedly talking to Netflix about the whole 2020 network.

Amazon, Disney and the film producers did not react to Mint’s query, but Anand Pandit from Chehre stated it was regarded as a digital update.

Tentpole like Sooryavanshi and ’83 are also outside OTT scope (because streaming revenues won’t help recoup their overall expenditure for € 100 plus) so they’ll get theaters any time they reopen. There is however an advanced range of films, which would have been second to the bigger ones that are now being picked up by these platforms.

Both for Bollywood, the eight-Week window of theater and digital publication to date, and services like Amazon which have only collected the films with theatrical validation are crucial to this move. “The theatrical experience is very important. That’s why we insist on picking movies that have a theatrical release. We know it’s a very important community exercise,” Vijay Subramaniam, director and head of content at Amazon Prime Video India, said in an earlier interview.

Those are indicators of shifting conditions and the creators have an advantage in certain situations. Video distribution services are keen to regularly deliver fresh material to render videos they perceive as entertaining to satisfy viewers seated at home. So, while a film such as Gulabo Sitabo will normally sell THILL 20-25 to a post-theatrical digital channel, comfortably recovering its THILL25 crore budget, its producers are now able to manage more, probably more than THILL 30 Crore.