S Viswanath

Content is the King is a truism that dictates the prospects of a film at commercial box office especially. Much as a film may boast of big ticket marquee names populating its making ultimately it is the content that makes or mars its prospects ensuring the proverbial return on investment made.

In this dog-eat-dog cosmos of entertainment market matrix much as a film may flaunt its credentials unless its content find resonance with the ultimate expectant consumer – the audiences – the film is bound to bite the dust consumed by its own pitiful fate.

It is in this regard that the FICCI Frames latest state of the sectoral report – Shape The Future – Indian Media & Entertainment Is Scripting A New Story– 2025 assumes immense significance and as a soothsayer.

According to the report brought out in consonance with the global advisory services leader – EY India – the fact of the matter in the year gone by was that “in a year of discontent, quality content made an impact.”

The report notes that, following its discussions with production house CEOs, the key themes that emerged were that demand for higher quality content was increasing in order to break through the clutter, providing content for free does not mean that people will consume it; now that consumers have gained wider exposure to international content, and what matters most is quality.

As Applause Entertainment’s Sameer Nair rightly observes, in a universe awash with new connected tech,declining legacy media, free social media and a value conscious consumer spoilt for choice, “it is imperative for platforms and creators to create new, distinctive content brands to standout amidst the clutter.”

For, as the FICCI-EY India Report finds out the content creation side of M&E industry is witnessing a shift in its battle for eyeballs, with diminishing attention spans catalysing short format content such as reels, with long format content creation becoming increasingly challenging, “when it comes to moving the content needle towards higher levels of engagement.”

As a result with fast evolving audience preferences, it is imperative for the industry to concentrate on creativity and entrepreneurship at a foundation level. Story telling has always been a rewarding industry. Indian audience is unlimited and language is no barrier. Efficient production systems can strengthen the Industry, concurs Bopdhitree Muiltimedia’s Mautik Tolia.

Content and content services volumes finds the report were impacted by the drop in subscription revenues resulting in a 12 per cent reduction in premium OTT content volumes in 2024 while platforms aimed for profitability with 48 per cent of content released on OTT platforms being in regional languages, besides an increase in dubbed and sub-titled content.

The report, however, strikes an optimistic note, in that, in 2025, it expects the OTT content volumes to increase,but at a lower average cost of production with content being created multi-format and multimedia,and separately for younger audiences and for different segments

Furthermore, as more and more content creators get access to organised funding and a wider distribution reach, the stage is set for the sector to position itself as a global content hub, the report notes.

As some of the industry players and experts opine content market is on the cusp of new take-off trajectory in the ongoing year and one can only wait to watch this happen to see how the entertainment industry fares itself in pandering suit to the pick palates of the discerning audiences who give their verdicts on products and services that they appreciate and those that do not appeal to them.

For, as Shree Venkatesh Films’ Mahendra Soni points out regional content has proven its global appeal, with stories that are deeply rooted in local cultures resonating far and wide. Atthe same time, audiences are consuming content in diverse ways-from big screens to mobile phones, across platforms that did not exist a decade ago.

Likewise, Madras Talkies’ Siva Anand makes an even more pertinent point. Cinema remains relevant because it offersmore than entertainment—it’s a shared experience. Likeconcerts and sports, people still gather for the collectivethrill. Audiences may change, but powerful stories willalways resonate. Filmmakers should prioritise contentfirst, as great films find their audience, and businessfollows naturally. Nothing can be truer said and expressed than this.

Ultimately, as Movie Verse Studios’ Vivek Krishnanai’s so succinctly sums up: Drawing audiences to cinemas requires compelling content. The industry urgently needs skilled writers who can craft stories that resonate with Bharat rather than just India. Ensuring a profitable return on investment depends on the right cost structure. In today’s landscape, a film must first succeed in theatres to unlock ancillary revenue, as platforms and broadcasters are no longer making pre-commitments.

Will the entertainment czars, movie moguls and money bags, and more importantly the fast growing legion of indie filmmakers bite the bullet in creating content that is relatable, realistic and readily acceptable and is assimilated by the larger family of movie addicted audiences is to be seen. Circa 2025 may throw up plentiful surprises before the year comes to an end. So let’s say prosit! wishing the entertainment czars well in this mission conquest.

S VISWANATH is a veteran film critic who officiates as JURY at several National & International Film Festivals. He deputises as CHIEF CINEMA CURATOR/PROGRAMMER & CREATIVE ADVISOR for Bengaluru International Film Festival (BIFFes). He also curates & advises on the selection of shorts & documentaries for Bengaluru International Short Film Festival (BISFF). Mr Viswanath is the author of “RANDOM REFLECTIONS: A Kaleidoscopic Musings on Kannada Cinema”.