In a significant move for the South film industry, producers and representatives from the producers’ associations and guilds of Tamil Nadu, Telangana, Andhra Pradesh and Kerala have come together to form the South Indian Film Producers Association (SIFPA), an apex body aimed at creating a unified voice for producers across the region.Earlier this year, exhibitors across South India met and, in principle, proposed a standardized eight-week window before films hit OTT. However, the producers, in their meeting, have now unanimously opposed any unilateral decisions taken by other stakeholders regarding the eight-week OTT window.Why are exhibitors asking for a longer OTT window?Tirupur Subramaniam, distributor and theater owner, says that both producers and exhibitors have the right to protect their business interests. “A producer has the right to say that they will release their film on OTT four weeks into its release. And we have the right to go for an eight-week window. Because, at the end of the day, I have spent money and built that theatre.” He also disagrees with the notion that a film’s box-office performance will not be affected, irrespective of whether the film is released on OTT in four or eight weeks. “There is a possibility of a 20 per cent increase in footfalls if the OTT window is extended to eight weeks.”‘LONGER OTT WINDOWS DON’T GUARANTEE BETTER RETURNS’Producer Abhishek Agarwal believes that extending OTT windows does not translate into better pricing for producers. “We need to consider the producer’s perspective, as there are huge investments involved. Today, with OTT platforms making strong demands and theater footfalls fluctuating, it’s important to find a model that works for both producers and exhibitors. A unified voice gives clarity to OTT platforms and creates a more structured ecosystem,” he says.CAN SOUTH FOLLOW BOLLYWOOD’S EIGHT-WEEK MODEL?Producer and exhibitor Suniel Narang questions why South can’t follow an eight-week window when Bollywood can. “In the Hindi market, an eight-week window is largely followed, so the question is why a similar approach cannot be explored here. If audiences return to theatres, it ultimately benefits producers too, as stronger theatrical collections lead to better overall returns.”However, producer G Dhananjeyan offers a counter-argument: “If an eight-week window alone brings audiences to theatres, why are smallbudget Hindi films not performing?” He points to Tamil cinema, where several small-budget films have succeeded of late despite shorter OTT windows. “Films like Thaai Kizhavi , Youth , Sirai and With Love , which had a four-week window, did well. If a shorter window discourages audiences, how did these films run?” he asks.
