After the boom of streaming platforms and the myriad range of content it introduced to housebound consumers during the pandemic-induced lockdown, it’s safe to say that the medium has settled with the masses. It has evolved into an avenue for content we seldom see on the big screen, and as a space for filmmakers to go beyond what’s considered commercial or mainstream cinema. It has also been hugely beneficial for female filmmakers across the country, especially from the Tamil film industry, with many of them venturing into streaming over the last few years.
Commissioning stories from the heart
Director Nandhini JS who made one of the first Tamil web series, Nila Nila Odi Vaa in 2018, recently returned with Prime Video’slatest series, Inspector Rishi. The filmmaker feels that while the creator’s gender is not of concern, the same cannot be said about the end consumers.
“For films, you need to pitch it to a hero and a producer; that limits the kind of stories coming out. These actors and producers also opt for heroism-loaded scripts that men would like as most of the theatre-going population are men. It’s become so much that a film gaining a family audience and getting women to theatres to watch it has become a feat,” says Nandhini, adding that women creators need a male-centric story to crack this and get a project done. “They cannot go with a script based on self-expression or a story that reflects their life, emotions and characters. On OTT platforms, you can tell a wider range of stories and they are up for hearing any genre. Hence, for women technicians, there are more opportunities on the streaming front.”
Nandhini JS with the cast and crew of ‘Inspector Rishi’
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@primevideoin/Instagram
Director Madhumita echoes Nandhini’s thoughts. The filmmaker, whose KD Engira Karuppuduraireceived a warm reception on streaming after its theatrical run, also helmed a segment in Prime Video’s Putham Pudhu Kaalai Vidiyaadhaa and has worked for two OTT platforms in consulting and commissioning projects.
“Having worked on both ends, I learnt that taking a subject to a producer or a hero is harder for a first-time director. You can’t blame them as well given there’s no product to judge a debutant’s calibre. For a feature film, I first come up with an idea that has to be turned into a screenplay, and then pitch it to a producer or a hero,” says Madhumita, while also pointing out the difference in the MO of these platforms.
Joju George and Nadiya in Putham Pudhu Kaalai Vidiyaadhaa…
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Special Arrangement
“In streaming, the platform gets to work with you on the development; after the first step of having a story bible, you pitch it to a platform. Then if they see potential in that, it goes into approval for development. And they don’t greenlight it directly for shoot; it takes six to eight months for the platform and creator to develop the project before it gets approved for production. For first-timers as well as experienced filmmakers like us, not only does it give us multiple perspectives but also the time to soak in the idea and improve on it.”
Director Madhumita
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Special Arrangement
Madhumita adds that though having a star attached to the project is not a prerequisite, it certainly helps. “There’s something called poster value. There are requirements from some platforms to have a hero on a show as they believe that brings in the audience from tier 2 and tier 3 cities. There’s an informed structure with the OTT platforms. While the performance of content matters, the risk of box office and how a film performs in its first weekend isn’t there,” she adds, and circles back to how the platform allows newcomers or directors who might struggle to get access to certain actors or producers.
“It was also the reason for a director like me to begin commissioning projects. A debutant filmmaker will spend a lot of time trying to get hold of a producer or an actor and probably one out of ten might crack that route. Whereas, I wanted to commission content where you have time to get to know the creator so that you can believe in their vision.”
What sets the streamers apart
A point that all the directors make is that female filmmakers working on OTT platforms are not an indication that the medium is comparatively easier to crack. Director Kiruthiga Udhayanidhi, who made the ZEE5 web series Paper Rocket, says, “If your passion lies in cinema, being a filmmaker precedes gender, the medium of release, target audience and such factors. I would say more opportunities have opened up for all filmmakers with streaming, and you will be seeing us traversing both mediums in the future.”
Director Kiruthiga Udhayanidhi
“I don’t think it’s a question of whether as women we are given more opportunities on OTT. I strongly feel it’s because the pressure of delivering on a Friday is not there and maybe the producers and actors are willing to bet more on it as they don’t have the pressure either,” adds Madhumita.
A still from ‘Paper Rocket’
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Special Arrangement
“While we might be celebrating films like Manjummel Boys, Premalu and Bramayugam — all happen to be in Malayalam — it’s still the violent, action film that every star wants to go for as that is the genre which is working theatrically. If some filmmakers don’t want to tell such stories, then OTT allows them to explore the genres and stories they want. Moreover, a Tamil show is not necessarily restricted to the Tamil Nadu audience. Since the streaming boom in India, it has been considered by many as secondary, which is something I disagree with. I remember a Korean person reaching out to me after watching KD and speaking about how it resonated with them as they also have a tradition where old people were abandoned.”
‘Corporates deliver on the promises made‘
Director Halitha Shameem is another creator who has had a fair share of experience working with non-theatrical avenues. Her film Aelay skipped theatrical release for a direct-to-television premiere after which it found its audience on Netflix. Halitha had also helmed a segment in Prime Video’s anthology series Putham Pudhu Kaalai Vidiyaadhaa.
Director Halitha Shameem
She states the professionalism of the OTT platforms sets them apart from a creator’s standpoint. “When you’re doing a feature film, you’re the boss as you’ve got complete freedom over it. But you have little to no control over what happens to it after the end of production. What was promised as a theatrical film might end up having a direct OTT release or even a television premiere. But this does not happen with OTT platforms,” says Halitha. “Corporates deliver on the promises they make right from the budget to creative freedom. In feature films, creators are dependent on various external factors; if it’s not the producers, it might be the censors or even random people filing a petition to stall your film’s release. This is fortunately not the case with the streamers.
Adding to Halitha’s views, Nandhini says, “Be it story pitching, or submitting a pitch deck, everything is on emails and is recorded. You conduct auditions, you have video proof, you attend meetings and everything happens according to the books. As far as the financial terms are concerned, there are dedicated teams to monitor where each rupee is spent; so there’s a lot more control and professionalism with OTT platforms.”
Halitha also adds that successfully conglomerating with such corporate entities is a skill set that filmmakers should hone. “Many are unaware of how to deal with these corporate companies; some creators might find their way of working intrusive or even offensive. Very few directors — who are also producers and understand where they are coming from — and were able to create waves in this medium. I think women filmmakers are more equipped to handle conflicts within these quarters as well.”
A still from ‘Aelay’
Madhumita, who is currently helming the Hindi adaptation of the action drama Angamaly Diaries., wraps it up by adding how a filmmaker’s love for the big screen will never be compromised due to the rise of streaming. “I’m someone who loves watching films in the theatre at least thrice a week. As a director, to sit and watch your film with a live audience is mind-blowing.”
“OTT should be treated as another medium which allows you to unapologetically tell the story you want to tell without the pressures of a hero’s value and numbers. But that doesn’t quite mean that women are getting several more opportunities here,” she concludes.
It wouldn’t be an overstatement to say that the veteran purveyors of Tamil cinema could learn a thing or two from the functioning of these streaming platforms. While it’s only a matter of time before the two avenues start going hand in hand, it’s a relief to see some of the industry’s best holding the reins at the cusp of an evolution.
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