The Changing Identity of Theater Cinema – Cinema Express

The Changing Identity of Theater Cinema – Cinema Express

Until very recently, film automatically meant “theatrical film”. Even if you watch it on TV later, there is no doubt that it was made to Theatre, taking into account the atmosphere and facilities within it. However, with the arrival of OTT platforms – which has accelerated the pace of the epidemic – the situation now appears to be in a delicate position. Stakeholders should really be, really convinced of the film’s “theatrical potential”, if they wanted to resist the apparent temptation to sell the release rights to a streaming platform. The past year has seen some fun theatrical experiences in the form of crackAnd PresidentAnd doctorAnd Pushpa: height, And Spiderman: There’s no room for the house, even while OTT platforms kept releases going.

Tamil producer S. The budget of the movie plays a big role. Sometimes, we can say that a movie is not going to attract audiences to movie theaters.” This is why you largely see small and medium-sized films hitting OTT platforms, as the financials are believed to make such releases profitable for stakeholders.

Vivek Ramadivan, an entertainment and marketing consultant, believes that the habits of going to the theater have changed. “Even before the pandemic, studies have shown that uptake in theaters was declining, except, for example, in the Telugu market, where theater culture remains strong. With the arrival of OTT platforms, people have realized that they can wait a bit before being able to pick up movies in the home “.

Which is why the industry seems to separate what constitutes a theatrical film and what does not. Saagar K Chandra, Director of Upcoming Star Car, Bhimla Nyak, starring Pawan Kalyan and Rana Dagupati, sees larger-than-life characters as an important part of the theatrical film. “Characters like this add to the cinematic experience,” says director Chimbodevan, his hyperlinked film. Casada Tabara It made its way to SonyLIV, and believes that content that can succeed across languages ​​is better suited to OTT platforms. “squid game, for example, has become widespread, despite being a series rooted in the spirit of Korea. This is because the topic is global.”

Dhananjayan, who was previously part of the Sony LIV selection committee, shared that OTT platforms prioritize content they believe will generate “conversation”. Tamil movies like Yennanga Sir Unga SattamAnd Sivaranjiniyum Innum Sila PengalumAnd Mandela, And Eli All this falls under this category. “While superstar cars are generally believed to be suitable for theaters, he adds, OTT players are also keen on having them in their content. This is causing concern, according to Bollywood director Kunal Kohli. Talent emerges then? If OTT players also want established stars, how will we develop new talent?” But that’s a discussion for another day. But it’s clear that everyone wants a piece of the pie when the stars are involved.

Rakesh, owner of Vitri Theatre, Chennai, sees ‘the mood of the film’ as the primary factor in this conversation. “Look at theatrical films like PresidentAnd doctorAnd Pushpa: heightAnd Spiderman: There’s no room for the house…you’ll see that they were either star cars or were movies that prioritized traditional entertainment. Movies with dark and sad themes are best suited for OTT platforms,” he believes.

Director Pawan Kumar, owner of the thriller Telugu science fiction film, Cody Widsmith, released in Aha, marks OTT and theatrical films as “character” and “larger than life,” respectively. In “bigger-than-life films” there is an emphasis on “theater moments” – such as an exciting time-lapse, for example. You can see this in response to movies like Pushpa. It seems that the importance of a star is increasing, and we may see a change in what is thought of as a star movie.” Pushpa: height, despite being a star car, still plays with the character’s morals, delving into a criminal operation as smuggling Red Sanders.

Director Kunal, who Sri Lahore It found its way to Zee5, and from RamojAlthough designed for theaters, released as a series in MX Player, he hopes the content won’t be segregated based on budget. Like him, many other filmmakers have been on the receiving end of last-minute decisions to change the release platform. Director Chimbodevan agrees that there is not much clarity for filmmakers while making the film. Sometimes, decisions are made even after the censor’s clearance. It is difficult for us filmmakers to write content, as the experience varies greatly based on how it is consumed. The director says it helps when OTT platforms sign deals directly with the film’s creator and fund a film.

And due to the lack of such transparency in decision-making, we end up with theatrical moments that play disappointingly on our television screens. Karthik Subraj Jagami thanthiram, starring Dhanush, which was shown on Netflix, is a good example of this. Consultant Vivek Ramadivan believes that if filmmakers have assurances about where their work will appear, they can tailor the experience accordingly. Actor Roshan Mathew, who starred in Anurag Kashyap Choked: Paisa Bolta Hai, talks about how the team knew the movie would be an OTT release from the start. “This was not the case with my Malayalam film, see you soon, though (which appeared on Amazon Prime). I find that the OTT versions provide more freedom,” he says. By the way, Fahad Fasil, is also part of see you soon, citing that the OTT version was very different from what had been planned for the theater version, and even suggested that plans could be made for another version separately in theaters.

Next year will tell us more, what superstar cars love ValmayAnd $$$$, And KGF 2, which were all envisioned before the pandemic, are about to emerge. As Chimbudevan says, “Everything evolved. From the drama came the silent films, then came the talkies, the cinemascope, etc. I think the distinction between OTT content and theatrical films will become more and more clear in the future.”

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