EASTERN PROMISE
Indian cinema has gone global, propelled by digital platforms, a vast diaspora, and universal themes, capturing worldwide attention as India’s population and middle class expand.
Indian cinema is often narrowly and wrongly defined by the glitzy lens of Bollywood—a term derived from the combination of “Bombay” (now Mumbai) and “Hollywood.” While this perspective was understandable, even forgivable, during Bollywood’s golden period, which spanned the late 1960s to the early 1990s, it overlooks the significant evolution in non-Hindi cinema. Notable examples include Pather Panchali (1955), a landmark Bengali-language film by Satyajit Ray that introduced Indian neorealism; Nayakan (1987), a critically acclaimed Tamil film directed by Mani Ratnam; Swayamvaram (1972), a pioneering Malayalam film by G. Aravindan; Chakravarthy (1984), a notable Kannada film; and Gandu (2010), an avant-garde erotic black-and-white Bengali film by Qaushiq Mukherjee. As India has evolved significantly in many ways, the film industry is increasingly recognised for its rich diversity and artistic innovations beyond Bollywood.
NUMBERS GAME
It’s time to crunch some numbers. In a remarkable shift, nearly 135 million people—about 10% of India’s population—rose out of poverty between 2016 and March 2021, according to a government report based on the United Nations’ Multidimensional Poverty Index (MPI) in 2023. This positive trend comes as India officially became the world’s most populous nation in April 2023, surpassing China with a staggering population of over 1.428 billion. This demographic leap is partly a result of China’s one-child policy, which has significantly slowed its population growth. Notably, India’s population now exceeds the combined total of all 54 countries in Africa.
These figures aren’t lost on cinematographer Ravi Varman ISC (Ramleela, Armaan, Barfi!). “Such a large population requires a vast amount of content to keep it entertained,” he explains. “The Indian film industry is worth $5 billion. India produces 1,000 films a year in as many as 10 languages, with most of them coming from Telugu, followed by Tamil and Hindi.”
Executive producer Siva Ananth (Ponniyin Selvan PS1 and PS2) adds that “cinema is our country’s biggest entertainer” and that nothing else comes even close. “Sports are a distant second, theme parks and theatre are negligible competition, whilst music events aren’t a threat,” he says. “Indian filmmakers have a committed audience, our biggest strength.”
Cinematographer Santosh Sivan ASC ISC, recipient of the Pierre Angénieux Tribute at the 2024 Cannes Film Festival, highlights the impact of digital platforms and technology on Indian cinema. “Streaming services like Netflix, Amazon Prime, and Disney+ Hotstar have played a significant role in expanding the reach of Indian films, enabling them to bypass traditional distribution constraints and access global audiences,” he states. “This shift has also opened up opportunities for regional cinema, independent filmmakers, and unconventional stories that may not have thrived in traditional theatrical releases. Additionally, advancements in film technology—such as CGI, sound design, and editing tools—have enhanced the production quality of Indian films, making them more visually and technically competitive on a global scale. The democratisation of content through these digital platforms and improvements in filmmaking techniques have allowed Indian cinema to flourish, engaging a broader and more diverse audience both at home and internationally.”
Indeed, the Ormax OTT Audience Report: 2024 reveals that India’s OTT audience has surged to 547 million users, marking a penetration rate of 38%, up from 34% in 2023. This represents a 14% increase from last year’s 481 million, fuelled by a remarkable 21% growth in ad-supported video-on-demand (AVOD) services.
SCREEN TIME
Of course, different forms of content lend themselves better to different screens, offering varying viewing experiences. Cinematographer Ravi K. Chandran (My Name is Khan) notes that OTT platforms and mobile movies require distinct lighting techniques, as they are all viewed on backlit devices.
“This approach contrasts sharply with theatrical films, which are projected on screens, creating a reflected image,” he explains. “Consequently, lighting ratios, blacks, and contrast levels will appear vastly different if films made for OTT are projected in a theatre. Despite the rise of OTT platforms, south Indian audiences still enjoy going to theatres to watch films, as cinema remains one of the biggest forms of entertainment and influence in their lives. Filmmakers, music composers, and actors continue to be revered in southern films, and big movie stars remain highly relevant. This suggests that the impact of OTT lighting styles has yet to fully manifest in commercial theatrical films.”
EASTERN INFLUENCE
The old phrase “there’s no such thing as an original idea” is particularly true in the film industry. Varman says Indian cinema often draws inspiration from Western films, particularly in terms of storytelling techniques and production values. However, while India “may not yet match the technical standards of the West”, he believes Indian cinema excels in its cultural depth and relevance. “One notable distinction is the blend of genres commonly found in Indian films,” he explains. “A single film might combine comedy, action, horror, and romance to appeal to a broader audience. This approach to storytelling, where multiple genres coexist within a single narrative, is something Western cinema could explore more deeply to create diverse and inclusive cinematic experiences.”
Varman adds that “the biggest difference in the approach to filmmaking in India, compared to the rest of the world”, lies in the collaborative and improvisational nature of the process behind the camera. “In India, filmmaking often involves a more fluid and dynamic environment, where creative decisions are frequently made on the spot, and the crew works closely together to adapt to the challenges of each scene,” he says. “This contrasts with the more structured and meticulously planned approach seen in many Western film industries. Additionally, Indian filmmaking tends to prioritise the emotional connection with the audience.”
Sivan suggests that Western cinema can learn a great deal from its Indian counterpart in several areas: “embracing spectacle with substance, genre-bending storytelling, music and dance as narrative tools, cultural representation and local flavours, strong emotional connection, emphasis on moral values and heroism, and inclusive storytelling across regions” it rarely covers.
“Western cinema, which often revolves around Hollywood, could further promote and support filmmaking across diverse regions and voices within its own countries,” he continues. “By adopting some of these elements, Western cinema could expand its storytelling range, cater to broader audiences, and create a more inclusive and emotionally engaging cinematic experience.”
BIG HITS
Indian productions have also been making headlines in different continents. On the small screen, the 2023 six-part Indian police procedural noir Kohrra, presented in Punjabi and Hindi, garnered significant attention upon its release, quickly reaching the top of the Netflix India chart and maintaining that position for multiple weeks. The series received praise for its gripping storytelling and strong performances, contributing to its popularity among viewers.
Over on the big screen, the Telugu-language action drama RRR (2022) made waves by breaking multiple records, setting a high bar for Indian cinema. However, the sci-fi film Kalki 2898 AD has surpassed it by achieving the highest North American premiere collection, outpacing RRR despite being released on fewer screens. Moreover, Kalki 2898 AD reported a higher global opening weekend collection, grossing $66 million compared to RRR‘s $60 million. As a result, Kalki 2898 AD has swiftly established itself as one of the highest-grossing Indian films, showcasing its immense popularity and success in the international market.
INFRASTRUCTURE AND STORYTELLING
Of course, the success of what we see on screen doesn’t happen by accident. It needs a solid and supportive infrastructure, and that’s where Varman believes his country stands out.
“With their extensive production facilities, India’s production houses managed by a wealth of extremely talented and experienced film personnel, have an impressive track record in providing wholesome and internationally acclaimed entertainment films,” he continues. “This is mainly due to the presence of a lot of independent producers over studios in contrast to Hollywood.”
Not only is the Indian film industry prolific, but it also deeply reflects national life and society. This adds another layer of complexity, as India is an incredibly diverse country, rich in languages, varying levels of wealth, food, and cultural practices.
“Indians are deeply emotional, culturally oriented and have a strong belief in mythologies, which is reflected in much of Indian cinema,” Varman continues. “Many films incorporate references to these mythologies, creating an emotional connection with the audience. For many Indians, cinema is an integral part of their lives. I’d like to share a personal anecdote from my village: when families search for a groom, they often compare him to MGR, a famous Tamil actor, meaning the groom should be as handsome as him.”
Of course, some of those genres are represented in films coming out of other countries, not just India, but Ananth says non-Indian viewers are not really a consideration. “We don’t actually tailor stories for Western audiences. Our stories and characters are created especially for our moviegoers within India and for the diaspora. But nowadays, they appeal globally for their ‘Indianness’, I assume.”
DIASPORA AND REACH
Hindi language feature films have been gaining popularity in the West, particularly in the UK and USA, since the mid-1990s, as the Indian diaspora started growing bigger.
“My first film as an assistant director, Dil Se.., was the first Indian film to reach the UK’s top 10,” Ananth says. “Around the same time, Telugu and Tamil language movies started gaining wider releases on the American West Coast and in the UK and Japan, with more South Indians riding the software boom.”
India doesn’t just have a large diaspora; it boasts the largest by a considerable margin. With an estimated 18 million people living outside the country, the Indian diaspora is spread across various regions, including the United States, the United Arab Emirates, Canada, the United Kingdom, and Australia, among others. Following India, other countries with large diasporas include Mexico, Russia, and China.
Moreover, many later generations of Indians abroad can speak their parents’ mother tongue, which is helping Indian content gain traction on the global stage.
“With hundreds of thousands of Indians immigrating to the West in the following decades, and subsequent generations growing up in their adopted countries, Indian movies and music have become mainstream in many cultures,” Ananth says. “The internet, social media, and streaming have deepened our cinema’s cultural penetration and normalised its reach.”
THE FUTURE
Despite the positive developments in India, making a living in the film industry remains a challenge for many.
Ananth warns that the market is crowded, which is expected in fertile ground, and that cinema attendance is dwindling.
“Only big-ticket films are earning money,” he says. “Small producers find investing risky without assured wide releases. This lack of release plans is today’s challenge, leading many movies straight to OTTs.”
That said, Ananth highlights the fact Indian movies now regularly screen in Western cinemas. “Our music plays in Western clubs, parties, and weddings—I remember dancing to a bhangra song at our friends’ wedding from Colombia and Hungary in coastal Spain; it was lovely and heart-warming,” he says. “I hope more non-Indians will embrace our films for their uniqueness and take our movies beyond the Indian diaspora. Aren’t we all one species?”
