Latest news with #OrmaxMedia
Hindustan Times
21-05-2025
- Entertainment
- Hindustan Times
This Tamil star's film outdid Akshay Kumar's Kesari Chapter 2, Sunny Deol's Jaat in April
The April box office numbers are in, and the surprise of the season is a Tamil film that's given Bollywood's big guns a run for their money. Outperforming Akshay Kumar's Kesari Chapter 2 and Sunny Deol's Jaat, this film has proven that language is no barrier to success. Can you guess which film it is? Also read: Vipul Shah opens up about Bollywood's box office struggles, 'obsession with making so-called cool films' According to the India Box Office Report for the month of April by Ormax Media, Ajith Kumar's Good Bad Ugly, emerged as the top-grossing film of April 2025. It grossed ₹183 crore at the box office, going on to become the highest-grossing Tamil film of the year so far. The Malayalam film Thudarum, starring Mohanlal, follows closely, raking in ₹148 crore at the domestic box office. Note that the report only considered the film's earnings from the Malayalam and Telugu language markets, as the Tamil version was released in May 2025. Akshay Kumar's Kesari Chapter 2 is third on the list. Hindi films Kesari Chapter ( ₹107 crore) and Sunny's Jaat ( ₹103 crore) were the only films to cross the ₹100 crore gross mark in April 2025. With four Malayalam films in this month's Top 10 highest-grossing films (Thudarum, Alappuzha Gymkhana, Maranamass & Bazooka), April 2025 has turned out to be a good month for Malayalam Cinema, grossing over ₹200 crore cumulative only for the second time ever after February 2024. The Indian box office regained momentum in April 2025, with gross domestic collections reaching ₹825 crore, including estimated future collections from films still running in theatres, following a dip in March. As per the report, the cumulative box office for 2025 releases stands at ₹3,691 crore, which is 19% higher than the same period in 2024. When it comes to the top 10 releases of 2025 (Jan-April), based on gross domestic box office across all language versions, Vicky Kaushal's Chhaava is winning the race with ₹693 crore, followed by Sankranthiki Vasthunam at ₹222 crore and then Good Bad Ugly at ₹183 crore. Hindi and Telugu languages lead the list of the top grossers of 2025 so far with three films each. With the addition of Good Bad Ugly and Thudarum, Tamil and Malayalam languages now have two films each in the top 10 films of 2025. As per the data, there is currently no Hollywood film in the list, but that can change in May 2025, with the release of Tom Cruise's Mission: Impossible—The Final Reckoning.
Time of India
20-05-2025
- Entertainment
- Time of India
Indian box office soars to Rs 825 cr in April, up 19% YoY
The Indian box office experienced a remarkable rebound in April 2025, with total gross collections soaring to an impressive INR 825 crore, according to the latest Ormax Media report . This surge signifies a strong recovery after a dip in March, propelling the cumulative box office collections for films released between January and April 2025 to a robust INR 3,691 crore. This figure represents a significant 19 percent increase over the collections from the same period last year, highlighting a vibrant start to 2025 for Indian cinema. Leading the charge was the Tamil action thriller Good Bad Ugly, starring Ajith Kumar, which grossed over INR 180 crore, making it not only the highest-grossing film of April but also the top Tamil film of the year so far. Close on its heels was the Malayalam drama Thudarum, featuring Mohanlal, which collected INR 148 crore at the domestic box office. Since the film's Tamil version is slated for a May release, only the Malayalam and Telugu language earnings were included in this month's report. Hindi cinema also had a solid showing with Kesari Chapter 2 and Jaat, starring Akshay Kumar and Sunny Deol respectively, both crossing the INR 100 crore mark. Malayalam cinema had a particularly notable month, with four films — Thudarum, Alappuzha Gymkhana, Maranamass, and Bazooka — appearing in April's top ten. The combined box office from Malayalam films crossed INR 225 crore, making April 2025 the second-highest-grossing month ever for the language, behind only February 2024. With these new additions, the top ten grossers of 2025 now include three Hindi and three Telugu films, along with two each from Tamil and Malayalam cinema. No Hollywood film features in the current top 10, though that may change with the anticipated release of Mission: Impossible – The Final Reckoning in May. Across all languages, the top ten grossers for the year so far (January to April 2025) reflect a broad linguistic spread. Chhaava, a Hindi historical action drama, remains the year's top performer, grossing INR 639 crore across its versions. Telugu film Sankranthiki Vasthunam follows with INR 222 crore. Tamil film Good Bad Ugly ranks third with INR 183 crore. These numbers account for cumulative collections across all released languages and regions. From January to April 2025, the language-wise share of gross domestic box office collections highlights the continued dominance of Hindi cinema, which accounts for 39% of total earnings. Followed by Telugu at 22%, Tamil at 17%, and Malayalam at 13%. Hollywood films account for 4%, while other languages make up the remaining 5%. This reflects a strong performance across both regional and national cinema.
Time of India
15-05-2025
- Business
- Time of India
Prime Video India with ads: necessary for growth?
Following a global pattern of streaming platforms exploring hybrid monetisation strategies, Amazon Prime Video has announced its entry into the ad-supported video on demand ( AVOD ) space in India. Starting June 17, 2025, Indian subscribers will encounter limited advertisements during movies and television shows, a change communicated via email and framed as a means to bolster ongoing investment in content. This move is seen by many as a natural progression for Amazon in a market where AVOD is demonstrating significant growth potential. The 2024 Ormax Media report reveals that SVOD audiences in India comprise 150.6 million people, representing 27.5% of the total OTT universe, while a significant 72.5 percent (396.6 million) access only free content, often exclusively on platforms like YouTube and social media. Notably, the SVOD audience has declined this year, with the overall 21 percent growth of the Indian OTT universe being solely attributed to the expanding AVOD audience segment. Industry experts have weighed in on this development, with many highlighting its alignment with global trends and the specific dynamics of the Indian market. Sanjay Trehan , digital and new media advisor, commented, 'This move is understandable and not entirely unexpected as it follows a global template. India is a cost-conscious market and Amazon needs to generate additional revenue by leveraging its Prime Video audience. Along with innovative CTV ad formats, this is Amazon's attempt to expand its reach and appeal to the bottom and mid tiers of the content consumption market without causing much disruption.' Nitin Menon , co-founder and MP at NP Capital, echoed this sentiment, stating that the introduction of advertising was a natural progression for all OTT players. He explained that with rising content costs and the long-term, patient nature of subscription growth in a price-sensitive market like India, leveraging advertising to boost revenues is a logical step. Menon asserted, 'In a price-sensitive market like India, you cannot ignore advertising as a substantial revenue stream, and all OTT platforms would need to incorporate it in some form or another.' Amazon notified subscribers that limited advertisements will be introduced to Prime Video movies and TV shows from June 17, 2025, explaining this will allow for sustained growth in content investment. They emphasised fewer ads compared to TV and other streaming platforms, with no impact on the current Prime price or requiring any user action. While the existing Prime membership fee will remain unchanged, Amazon also revealed the introduction of a new optional ad-free add-on for its Prime members. This premium option will be priced at INR 699 annually or INR 129 on a monthly basis and will become available for subscription from the same date, June 17, 2025. The experts suggest a mixed bag of reactions. While some believe Indian consumers are accustomed to ads and the value of the Prime bundle might cushion the blow, others highlight the risk of alienating existing subscribers who expect an ad-free experience. The success of this move will heavily depend on the ad load, the quality of the ads, and how well Amazon balances revenue generation with user experience in a price-sensitive market. Menon believes this is a "win-win" as it boosts overall OTT revenue, allowing for greater investment in content and reducing pressure on SVOD growth. While acknowledging a potential initial inconvenience for consumers unaccustomed to ads, he emphasised that the ad strategy and implementation are at the discretion of each OTT platform. Meanwhile, Trehan elaborated on the potential of ad-supported models, stating, 'AVOD is the way to go and will help expand the premium content market. Having said that, India is a country that defies linear constructs. There are enough takers for an ad-free, clutter-free seamless experience and are willing to pay a premium for it. So, it looks like a smart move to upsell an ad-free experience.' This dual approach, offering both ad-supported and ad-free options, appears to be a strategic manoeuvre to cater to the diverse preferences and price sensitivities within the Indian consumer base. The evolution of the OTT landscape and shifting consumption patterns are also key factors influencing this decision. He also addressed the monetisation debate, suggesting a coexistence of models. 'I expect both AVOD and SVOD models to grow, as India is a vast and diverse market and content consumption patterns are influenced a lot by local and regional factors. The key, however, is to produce quality and differentiated content that celebrates diversity and builds on cultural sensitivities. Mopping up additional revenue will help Prime Video spend more on generating premium content.' Shradha Agarwal , co-founder and CEO of a digital marketing agency—Grapes, believes Prime Video's new strategy will segment its user base into those willing to watch ads for continued access at the current price and those who will pay extra for an ad-free experience, reflecting existing preferences in content consumption. Agarwal firmly believes in the growth potential of AVOD in the Indian context, asserting, 'AVOD is undoubtedly the most promising avenue for growth in the current OTT market.' She further projects the long-term revenue dynamics, suggesting, 'Ultimately, sponsorship and advertising will likely become the primary revenue generators, potentially accounting for 50-60% of the total, while subscription fees will primarily fund platform development and maintenance.' Despite the anticipated surge in AVOD adoption, Agarwal acknowledges the continued relevance of subscription-based models, noting, 'Despite the rise of AVOD, SVOD will persist in India. Users are already accustomed to managing multiple subscriptions and will likely continue this habit.' India's OTT market presents diverse subscription options. JioStar offers ad-supported mobile plans from INR 149 quarterly, with an ad-free premium yearly plan at INR1499. Netflix's ad-free tiers range from a INR 149 monthly mobile plan to a INR 649 premium monthly plan for four screens. ZEE5 has three-month premium plans at INR 599 for three devices, alongside regional monthly options from INR 99. SonyLIV provides a mobile-only annual plan at INR 699 and a premium yearly plan for two devices at INR 1499. YouTube premium starts with INR 149 monthly.
Mint
08-05-2025
- Entertainment
- Mint
Malayalam cinema bucks trend, doubles box office revenue as other regional language films falter
Malayalam movies have had a smashing year so far as Hindi and increasingly Tamil and Telugu films see big-star productions falter at the box office and Marathi and Bengali cinema grapple with the lack of innovation and discovery. The Kerala film industry has notched up not just a big hit like Mohanlal's L2: Empuraan but also a string of smaller successes such as Thudarum and Rekhachithram when the theatrical business in most other parts of the country is going slow. Experts attributed this to a robust movie-going culture in Kerala, where cinema theatres are well-maintained, flexibly priced and easily accessible and there is no government interference on the number of shows per day. 'One of the key reasons behind the (Malayalam) industry's recent box office highs is the 'gradual massification' of Malayalam cinema," said Sanket Kulkarni, head of business development (theatrical) at Ormax Media. 'Filmmakers are now exploring genres and production scales that were relatively rare in the past. This shift has also been influenced by the popularity of commercial Tamil and Telugu films in Kerala." Malayalam box office revenue more than doubled from 2023 to 2024, crossing the ₹1,000 crore mark for the first time. Also Read | Malayalam films bounce back to box office glory Another contributing factor is the pandemic-era surge in OTT revenue for Malayalam films, which provided producers with the confidence and financial backing to attempt larger-scale projects that may not have been feasible earlier, Kulkarni added. However, success has primarily come from mobilising the core Malayalam-speaking audience, rather than from a pan-India footprint, experts including Kulkarni emphasised. L2: Empuraan earned ₹117 crore from its Malayalam version, while its collections in Tamil, Hindi and Telugu were comparatively modest— ₹5 crore, ₹3 crore and ₹3 crore, respectively. The notable exception was Manjummel Boys, which grossed over ₹50 crore in Tamil Nadu, setting a record for a Malayalam film outside Kerala. Yet, such cross-regional success remains more the exception than the norm. Authentic storytelling Malayalam cinema's steady ascent to both national prominence and international appreciation can be credited to its unwavering emphasis on authentic storytelling and deep-rooted cultural connection, said Ashish Saksena, chief operating officer-cinemas of BookMyShow. 'This ethos has fostered a space where narrative innovation, emotional nuance and relatable characters take precedence. While Malayalam cinema features celebrated actors, their roles serve the narrative rather than dominate it, with prominent performers embracing grounded, character-driven parts that reinforce the industry's commitment to realism," Saksena said. Also Read | Malayalam film producers up in arms against steep star fees, call indefinite strike from 1 June Films in regional languages including Punjabi, Marathi and Bengali haven't found it easy to compete with the star-driven industries of Hindi, Tamil and Telugu cinema. A major challenge these smaller regional industries face is the intense competition from Hindi films—in terms of theatrical showcasing, budgets and size of the audience. This is compounded by the fact that audiences in these regions are largely bilingual, and there is a stronger cultural inclusivity for Hindi cinema. According to Ormax Media's Sizing the Cinema 2024 report, 90% of the theatregoers in Maharashtra and Goa (those who have watched at least one film in the past year) watch Hindi films, whereas only 50% watch Marathi films. Moreover, the size of the theatrical audience base is limited for Punjabi (4.3 million) and Bengali (4 million) compared with Malayalam (11.9 million). Engagement with cinema is also a critical factor. The average number of films watched in theatres per person annually stands at 5.6 in Malayalam, compared with 2 in Marathi, and 1.6 in Bengali—highlighting the comparatively active cinema-going culture in Kerala. Also Read | Southern language box office in 2024 may rise 15%, lifted by Malayalam flicks 'Audiences are very clear that it's all about the content at the end of the day. How much you've spent on the film doesn't matter," said Mukesh Mehta, founder of Malayalam film production and distribution company E4 Entertainment. Mehta added that like other language films such as Salman Khan's Sikandar (Hindi) and Suriya's Kanguva (Tamil), even the Malayalam movie audience has learnt to reject big-star vehicles that don't offer anything new, with Mohanal's recent film Barroz 3D having tanked at the box office.
Mint
30-04-2025
- Business
- Mint
Small budgets, big dreams: How these production houses could slow Bollywood's decay
Mumbai: Last February, Mumbai-based production house B62 Studios released Article 370 , its first venture. The film, backed by Jio Studios, was being released at a time when big-budget star vehicles, such as the Hrithik Roshan-starrer Fighter , were struggling to sell tickets. Surprisingly, Aditya Jambhale's directorial debut enjoyed a worldwide gross collection of close to ₹ 100 crore. Made on 'limited resources", the movie is the only small-to-medium budget Hindi film that has drawn audiences to cinema halls. With moviegoers losing interest in Hindi movies and unwilling to shell out ticket money, Bollywood has been struggling. And yet, more than a dozen production houses such as B62 Studios have mushroomed across Mumbai since 2022, developing and producing Hindi films even as the industry goes through one of its worst financial crises. Bollywood films lost a four-percentage-point share at the box office , dropping to 40% in 2024 from 2023, according to an Ormax Media's Box Office 2024 report. But declining theatrical footfalls and box office cash are not deterring big stars, former studio executives, first-time producers and a wider cast of players from setting up shop and taking financially risky bets on Hindi films. While actor Rajkummar Rao and wife Patralekha Paul's unnamed production company is gearing up to release Toaster on Netflix, B62 Studios, founded by director-producer Aditya Dhar, is now on its fourth production venture, Dhurandhar . Vinod Bhanushali, T-Series' former top marketing executive, has produced at least six films since 2022 under Bhanushali Productions. Five-year-old Civic Studios has theatrical projects in different development stages, while newly launched Samrat Cinematics is gearing up to release Ajey: The Untold Story of a Yogi , its first movie, in cinema halls. 'Hindi films' glamour quotient is so high… the excitement to see one's name on the big screen is a factor contributing to people entering the production side of the industry," said Komal Nahta, a film trade analyst. But unlike other industries, filmmaking is one of the most speculative businesses in the world, Nahta added, where no one can predict a project's financial success or failure. Forget about clocking profits or breaking even. Currently, producers are finding it difficult to even recoup a film's production cost . Movies that fail to attract audiences to cinema halls have limited avenues to recover even basic spends, especially with streaming platforms becoming choosy about acquiring films and satellite rights becoming less lucrative. About 85 Hindi movies were theatrically released in 2024, according to a back-of-the-envelope calculation, of which only around 10 films ended up collecting box office cash. On the flipside, films loved by audiences can go on to generate crores, unlock franchise movie opportunities, new potential territories for releases, and give a monetary boost to the wider movie ecosystem. In 2024, Telugu films Pushpa 2: The Rise , featuring Allu Arjun, and Vyjayanthi Movies' Kalki 2898 AD found a surprisingly large audience base across Delhi, Uttar Pradesh and Rajasthan, in the Hindi belt. Pushpa 2's Hindi dubbed version contributed ₹ 889 crore to the action-drama's total gross of ₹ 1,403 crore, according to Ormax Media's Box Office 2024 report. 'Even though it is a high-risk business, there is always an opportunity to generate supernormal profits and get high rewards," says Karan Taurani, a senior vice president at Elara Securities. 'Most of the new production companies also aim to make content-led, story-driven films that do not necessarily need huge budgets, unlike star vehicle movies," he added. Creation of small-to-medium budget films by emerging production houses could prove to be good news for the Hindi movie ecosystem, which is desperate for a revival. Films made on modest spends of ₹ 10-50 crore act as the industry's backbone. Apart from providing employment opportunities to hundreds as crew members, these movie ventures become a playground for new writing, directing and acting talent, among others, possibly uncovering future stars. For instance, the theatrical success of Sonu Ke Titu Ki Sweety (2018) and Uri: The Surgical Strike (2019) established actor Kartik Aaryan and filmmaker Dhar, respectively, as commercially viable talent. A healthy movie ecosystem also requires a balanced flow of big-budget star vehicles and small-to-medium budget releases to sustain the industry. Also, fundraising to finance video content is increasingly getting organised, according to Elara Capital's Taurani. From bank loans to family investment offices, multiple avenues have popped up to fund a movie project. Emerging producers are aware of the financial risks involved in the business of filmmaking. Hence, keeping a check on production costs, diversifying income streams, and brand building are a few ways the new outfits are experimenting to build their business. Uri's director Aditya, along with his brother Lokesh Dhar (B62 Studios), claims to have been able to produce Article 370 (2024) and Dhoom Dhaam (2025) on limited resources by making the production process efficient. The two Yami Gautam-starring movies were also backed by Jio Studios, run by Mukesh Ambani's Reliance Industries. Processes are brought in place right from script development. Unlike the olden days of the film industry, where actors claimed to get scenes on the day of the shoot, emerging filmmakers these days aim to have hardbound scripts, and conduct workshops with actors, before shooting begins. Taking such measures in pre-production stages helps mitigate unforeseen issues during a shoot, making the filming process much smoother. 'If we want to compete at a global level then our processes need to be smooth from the time a script is being developed and pre-produced up until its release," said Lokesh Dhar. One of the top executives at Ronnie Screwvala's UTV Motion Pictures (later acquired by the Walt Disney Company), Dhar has handled marketing and distribution on sport-drama Dangal (2016), Shahrukh-starrer Chennai Express (2013) and action-thriller Kaminey (2009), among others. At B62 Studios, the founders exert creative control only when necessary. 'The HoDs (heads of departments) are trained in their craft. We convey our vision and let them showcase their work," Aditya said. They have done away with strict hierarchical structures in order to have less lead time in solving issues. 'We are living in a different era. Now, you have to treat your colleagues respectfully," said Aditya. The brothers are also focusing on building B62 Studios, named after the number of their childhood home in Delhi's Lajpat Nagar, into a brand people aspire to work at. Anushka Shah, a former research professional at Ormax Consultants, is positioning Civic Studios as a global media company that creates social-impact driven content. Civic Studios, which has offices in Mumbai and London, started in 2016, and was incubated at the Massachusetts Institute of Technology (MIT) Media Lab. The company develops shows for streaming platforms ( Family Aaj Kal, Vakeel Babu ), films for theatrical releases, and acquires movies for distribution, thereby creating multiple revenue streams. 'When one operates in the high-risk business that filmmaking is, then one way to sustain for the longer term is by creating multiple income sources," said Shah. So, if the streaming platform is not commissioning scripts, then one can still keep the company afloat through other cash channels, she explained. In April, Civic Studios released British-Indian production Santosh across the UK. Top filmmakers across India are also aspiring to reach a wider set of audiences with their movies. To be sure, mainstream Indian films (Hindi, Tamil and Telugu) have found a diasporic and local audience in China, West Asia, and Japan, as well as other Asian and South East Asian countries. But the ambition has grown to attract people beyond the Indian diaspora in American and European territories. In 2023, Nag Ashwin-directed Kalki's first look was released at Comic Con, one of the biggest comic book and multi-genre entertainment conventions, in San Diego, to position it as a global film, said Swapna Dutt, one of the film's co-producers. Lately, top Hindi filmmakers, including Zoya Akhtar ( The Archies ), Vikram Aditya Motwane ( Jubilee ) and Sanjay Leela Bhansali ( Heeramandi ), have also been developing movies and series for Netflix and Amazon Prime Video, which are available in 190 countries and 240 countries and territories, respectively. The potential to be able to make films for a larger number of people within and outside India is pushing budding filmmakers to consider the stories they decide to work on. Observing the workings of the Toronto International Film Festival (TIFF) also gave budding filmmaker Priyanka Shailendra a route to distribute movies across more countries—if the stories resonate. 'I want to create films that can go beyond borders," said Shailendra, founder, Dancing Panda Films, who is currently scoping for studios to back two scripts. Top international film festivals, including TIFF, the Cannes Film Festival, Berlin International Film Festival and Sundance Film Festival are not just made for marketing movies and snazzy celebrity red carpets. 'It is a marketplace where moviemakers can strike lucrative deals with distributors operating in European and North American territories," said Ashwin Sharma, founder, Impact Films. The Mumbai-based distribution company releases international movies in India, including Korean black comedy Parasite (2019), A24 Studio's science-fiction drama Everything Everywhere All at Once (2022), and Japanese coming-of-age film Monster (2023). In 2024, director Payal Kapadia's All We Imagine as Light won the Grand Prix, the second prestigious award at the Cannes Film Festival, leading to theatrical releases in 18 countries, including the US, France, Australia and India. This recent trend of premiering movies at film festivals and the success of filmmakers such as Kapadia is increasingly giving new entrants a straightforward route to reach a larger audience. To be sure, mainstream Hindi films, including Lagaan (2001), Devdas (2002) and Gangubai Kathiawadi (2022) were also screened at film festivals prior to being theatrically released in India. Kapadia's debut feature falls under the category of arthouse movies, similar to Masaan (2015) and Aligarh (2016), according to half a dozen film exhibitors. 'These kinds of films appeal to niche audiences and hence work in certain locations," said Ashish Pandey, head, content programming and strategic initiatives, Moviemax, a multiplex chain. Completing a movie's production is nothing short of summiting Mount Everest. But the journey of a film's theatrical release is similar to climbing K2, the second tallest mountain and a difficult climb, compared to Everest, said experts. 'So many films lie complete with no buyers," said Nahta. Getting cinema space to showcase a film is one of the biggest hurdles in India. While 1,800-2,000 movies are reportedly being made every year, across 20 languages, only a couple of hundred get a theatrical release. Firstly, this is due to a shortage of screens and second, due to not being able to find distributors. Without a theatrical release there is very little opportunity for producers to make supernormal profits on their investments. India has 9,742 screens, of which 47% are across Andhra Pradesh, Karnataka, Tamil Nadu and Kerala, according to a joint report released by industry body Ficci and EY, a consultancy firm. In the US, AMC Theatres alone has 9,798 screens, according to a special report released by Cinema United, an industry body. Neighbouring China has close to 90,000 cinema screens, according to Statista. For an emerging production company, having theatrically released projects is essential to attract better resources, said Abhishek Dhandaria, founder, About Films. 'After making a film that also brought in some box office cash, you can attract the attention of bigger studios to back your future projects," Dhandaria explained. The IIT-Mumbai graduate has created Amazon Prime Video's Physics Wallah, and is also developing a film script. Having the backing of a studio such as Jio Studios, Amazon MGM Studios, Yash Raj Films and Red Chillies Entertainment, could help an emerging filmmaker in navigating cost intensive efforts such as marketing and releasing a film. The Hindi film ecosystem is going through a downturn without an end in sight. This is making top studios with deep pockets run their operations conservatively, taking less risky bets on theatrical projects, said Ishan Banerjee, an independent media counsel, who has handled legal proceedings for mega budget movies such as Fighter (2024) and Animal (2023). 'No one can predict what kind of film will break out," said Moviemax's Pandey. But if more new stories do not make it to theatres, it might be hard for Bollywood to recover its box office share. And budding filmmakers could fizzle out before anyone can say 'cut".
