OTT rights for one of this year’s Telugu box office hit, ThandelNET was reportedly obtained by Netflix for over 45 crores. The film directed by Naga Chaitanya and Sile Pallavi starring Chandu Montheti almost. Was built on a budget of 75 crores. Massive hit, Vicious architecturalProduced with a budget of about ₹ 50 crore, he was allegedly sold to Zee5 for about ₹ 30 crore to Zee5. Such pre-localize deals helps manufacturers recover a large part of their production cost.
However, not all films are lucky. For every film that makes an attractive deal for digital rights, many others have to struggle with low prices or have no one to take. Digital platforms that were eager to achieve new films during epidemics, to strengthen their membership base, are now tightening their purse string and setting conditions.
What did you do in case of Vicious architectural Venkatesh-Anil was the previous blockbusters given by Ravipudi Duo. Thandel Director Chandu Montheti benefited from the presence Kartikeya 2 Fame, Naga Chaitanya-Sai Pallavi after cooperation Love story, And Production House Geeta Arts.
Sai Pallavi and Naga Chaitanya in ‘Thandel’. Photo Credit: Special Arrangement
Major digital platforms are asked to purchase films leading by the lead actor, director or production house’s box office track records, and the release dates are determined to suit their digital release calendar. For example, films sign up for a four -week or eight -week window after the dramatic release, after which the films will stream digitally. The platforms prefer to stagger films for better audience, for better audiences.
Lockdown boom
Director and producer Sai Rajesh, whose 2023 film Child There was a huge hit, saying, “There is no shortage of films, since the industry has felt digital capacity during the lockdown. But the business model of digital platforms has changed since then.”
At that time, many films were made with a minor budget and a star cast was not even proud of the cast. Some people attracted the attention of the audience while no other attention was noticed. As digital platforms analyzed the viewing patterns, they favored films that produce pre-relief buzz in the form of music, teaser and trailer.
“Film units cannot take things. If the pre-provision materials create interest from the audience, there is a better chance to increase digital rights for good price. Otherwise, OTTS prefers that the film is released and then decides at the price, going from the box office reception,” Sai Rajesh says.
His own film is an example. His production, Colored photoDirected by Sandeep Raj, there was a large number of spectators after direct digital release during lockdown. ChildWhich he directed, benefited from the music album composed by Vijai Bulginin. One of its prominent actors, Anand Devarakonda became a domestic name during thanks to the epidemic Middle class tunesBut Vaishnavi Chaitanya and Viraj were new names. East-reliefs generated by audio and teaser tricked.
Changes in digital strategy, internal sources in the industry say it was unavoidable. A director says on the condition of anonymity, “OTTS decides everything. Not only the release date, even the combination of actors and directors and within what time they want it to complete a film. Apart from films starring A-list actors or those who are constantly working, they were a struggle for everyone. They will be a struggle for everyone and for everyone. Digital rights will not be trusted until deals are not finalized.
Hit trail
Between small and medium range products, there is a recent success story Court: State vs NoneIt was allegedly produced on a budget of about ₹ 10 crore, digital rights were reportedly sold before their dramatic release for ₹ 8 crore. One of the main reasons the film’s producer, actor Nani’s success is the streak of success. The film starring Priyadarshi, Roshan, Sridevi and Shivaji, directed by first-timer Ram Jagdish, allegedly crossed the ₹ 50-crores mark in the first two weeks of their dramatic run.
Roshan and Sridevi ‘Court: State vs e No No’ | Photo Credit: Special Arrangement
Netflix slate of new Telugu film acquisition in January 2025 unveiled OG, Kingdom, Hit: The Third Case, Thandel, Mad Square, Mass Jathara, Jack, Court: State vs A No No No NoAnd Okhanaga Oka Raju. All these films have claimed production houses, actors or directors with a success line.
During the epidemics, digital boom came as a boon for the makers of small and medium budget films. It was not much different from the multiplex boom in the early 2000s. Eventually, both multiplexes and digital platforms stared at the spinners of money and began to like well known names.
In the film circles, it is well known that many films made with a budget of 3-5 crores are found to be a person for dramatic release. Even if they do, there is no guarantee for OTT sale. Some people are ready to give their films for free, or opt for pay-per-view models, but there is no interest in platforms.
Some producers who are interacting with platforms for their next films, avoided commenting. Digital platforms also did not respond.
Digital fatigue
Venkat Siddhedi, who was part of the production teams of Indie films MalleshamMetro at 8 pm, And played an important role in helping the dramatic release C/O KancharapalemThe reason is that the change in strategy can also steal from ‘digital fatigue’, where the audience is bombed with many films and chains. “Are we seeing as much as we are seeing during the lockdown?” He asks.
During the epidemic, the thirst of new content accelerated production. As the lockdown sanctions were lifted, studios in Hyderabad were with film and web series presentations. Representatives of the industry had then told the journalist that the units were working at such a fast pace that it was difficult to rent technical equipment on small notice for firing. However, quantity did not translate to the faster quality.
From the scenario, Tekauve, Venkat Siddhedy says, lying in film teams, to awaken the reality that they have to provide a fresh new experience to the audience to be able to attract attention. “Last year’s film, MalevolentThere is an example. Parts of the climax surprised the audience and the promotion of the word-mouth ensured that the theater was filled. ,
In addition, he says that it is necessary that the manufacturers do not look after the budget. “The method of work requires a reconsideration. We do not have the luxury to take digital rights.”
Published – 04 April, 2025 12:28 pm IST
