Showing posts with label Adi Tiwary. Show all posts
Showing posts with label Adi Tiwary. Show all posts
Overseas film distributors rework terms to cut risks
8:26 AM
Focus on refundable advances rather than minimum guarantee amid West Asia tensions
Rajesh N Naidu (THE ECONOMIC TIMES; March 21, 2026)
Overseas distributors of Indian films are changing their business model to reduce risks of loss amid the West Asia war even as they continue to buy films from Indian producers, producers, overseas distributors and film trade analysts told ET.
"Broadly, business is still moving in the overseas markets including the Middle East, but the mood is more cautious rather than frozen," said Adi Tiwary, an Australia-based producer, consultant and a former international distribution partner.
To deal with the uncertainty in revenues, overseas distributors are increasingly opting for refundable advances, where the producer must repay the difference in case the film's net collection falls below the advance payment along with the distribution commission and expenses incurred in obtaining a film, experts said.
Historically, overseas distributors have been paying minimum guarantees (MGs), which are non-refundable, to producers to secure distribution rights for films expected to perform well in box-office.
They are also becoming more selective in buying films to deal with the uncertainty.
"Overseas distributors are focusing on films which do not have nationalist themes as they appeal to larger audiences," said a distributor requesting anonymity.
Gulf exposure
The Gulf countries, which are among the most impacted in the ongoing war, contribute 15-20% to the total overseas collections of most Hindi films, trade analysts said. But the share is at least 10% higher for most southern films, making them more vulnerable.
In fact, Malayalam films derive over 80% of their international business from the region, producers said. "Many South Indian films are pre-sold overseas on minimum guarantee deals. If uncertainty sustains in the Middle East, then distributors may push for refundable advances than MGs for upcoming southern films," said Suniel Wadhwa, cofounder and director at Karmic Films.
However, there is no change in release schedule for southern films, experts said.
"I think producers and overseas distributors are ready to take a hit," said Chennai-based entertainment sector analyst Ramesh Bala.
Market shift
Trade analysts said overseas distributors are now increasing focus on markets other than West Asia. "This is a sound strategy to make up for potential revenue losses from the Middle east region," said Girish Johar, producer and industry expert.
Also, distributors can release films in West Asia much later than other territories, a veteran distributor noted.
Hollywood studios shift from acquiring films to co-owning IPs in Indian productions to unlock new revenue streams
8:52 AM
Global film studios shift from acquiring films to co-owning IPs in Indian productions to unlock new revenue streams
Javed Farooqui & Rajesh N Naidu (THE ECONOMIC TIMES; October 21, 2025)
Foreign studios are stepping up their India push as box office collections rebound and streaming reach expands. In what industry executives call Hollywood’s “second wave” in India, global players that once focused on acquiring and distributing Hollywood films are now moving to owning/co-owning local film IPs, shifting from a low-risk distribution model to investing in Indian-language productions that offer deeper presence and long-term value.
Amazon MGM Studios will release three to four Indian films theatrically every year starting 2026, with each title later premiering on Prime Video. The move aims to blend theatrical scale with streaming reach.
“While our core business is streaming, we believe in the theatrical window and the magic of theatres,” said Nikhil Madhok, head of originals, Prime Video India and Amazon MGM Studios at an industry event recently. “Depending on the kind of film that we are producing, we take a joint call with our creators in terms of which project can go to theatres first.”
Warner Bros. Pictures has signed an exclusive five-film partnership with Bhanushali Studios and JOAT Films to develop Indian adaptations of classic Warner titles. The studio will provide IP and global distribution support, while Indian partners lead creative adaptation and production.
Universal Studios, part of Comcast Corporation, is reportedly planning an indoor theme park in India near Delhi. At the same time, it has held early‐stage discussions with Farhan Akhtar and Ritesh Sidhwani founded Excel Entertainment about a potential stake partnership, though no formal deal has been finalized.
“Global studios are renewing their focus on Indian cinema, moving from distribution to local production,” said Nitin Menon, managing partner, NV Capital.
“Amazon MGM’s Superboys Of Malegaon, Nishaanchi and Mirzapur mark a shift toward theatrical storytelling. Warner Bros.’ partnership, coinciding with Paramount’s potential acquisition, could unlock capital for deeper expansion. Universal may follow with co-productions as Hollywood recalibrates its India playbook. Theatres are back in focus, though Netflix remains committed to digital-only releases.”
According to Ormax, the cumulative box office for 2025 releases stands at Rs. 9,409 crore till September, up 18% from a year ago. India’s OTT universe now includes 601 million users, with 148 million active paid subscriptions through direct payments, telecom bundles and aggregators.
Rebuilding the market
After the pandemic slump, multiplex admissions and box office collections have rebounded across languages. Streaming adoption has accelerated, creating a dual-market dynamic where films earn from both theatrical runs and platform licensing.
For studios, local productions offer a way to build IPs with international potential and unlock new revenue streams from music, merchandising and streaming. Collaborating with Indian producers also helps ease distribution challenges and brings valuable market insight.
“Hollywood’s second wave in India is about reducing risk, not planting flags,” said Adi Tiwary, a Sydney-based producer and consultant. “The trend is to build with Indian partners, use library IP to de-risk, and let theatrical and streaming work in tandem. Hollywood has learned that India rewards local muscle and disciplined windowing.”
Cautious comeback
“They’re re-entering cautiously, focusing on mid-budget, locally rooted films rather than big productions. With cost rationalization underway in the US, it’s about testing the waters and understanding audience shifts,” said Neeraj Vyas, CEO of Bhanushali Studios, about the Hollywood studios’ second coming.
A decade ago, Hollywood’s presence in India largely revolved around distribution. Studios like Disney UTV and Fox Star acquired completed films such as Race, Kick and Tamasha for high minimum guarantees.
Today, global studios are stepping into the creative process, co-developing stories and co-owning IP with Indian partners, a shift toward building scalable franchises and retaining long-term rights.
“The foreign studio model has matured from buying content to co-owning it,” said Suniel Wadhwa, co-founder and director, Karmic Films. “Streamers like Amazon and Netflix set that template through partnerships such as Amazon–Maddock and Netflix–Balaji. Now global studios are following suit, as seen in Warner Bros. Discovery’s collaboration with Vinod Bhanushali to create original Indian IPs for global audiences. These alliances are no longer about one-off films but about building exportable Indian story worlds.
Proposed Donald Trump levy on non-US films would double costs for Indian distributors, force rethink
9:54 AM
Rajesh N Naidu (THE ECONOMIC TIMES; May 6, 2025)
Mumbai: US President Donald Trump's proposal to slap 100% tariffs on foreign films spells a sudden twist in the plot for the Indian film industry that threatens to hurt its box office prospects and overall viability in a key overseas market, said senior executives.
The move, prompted by "a very fast death" of the American film industry, according to Trump, would force production houses to reassess budgets and release strategies, according to the executives. Any move to raise ticket prices to offset higher distribution costs could reduce footfall for Indian films in the US theatres and dent their box office potential, they said.
However, a White House spokesman on Monday said there was no final decision yet on the tariff.
If implemented, "the tariff effectively doubles the cost of importing Indian films," said Pradeep Dwivedi, group chief executive of Eros International Media, India.
Two goals
"A reduction in Indian film presence in US theatres could reduce India's soft power and cultural influence through cinema," said Dwivedi of Eros.
The US has historically been a critical market for Indian films, given the sizeable Indian diaspora - about 5.2 million, according to the Pew Research Center. For Hindi films, it accounts for 40-60% of the total overseas revenue, while for southern films, the share ranges from 12-70%.
"Thanks to higher ticket prices and better revenue splits, the US market provides 30-50% of net overseas earnings for any successful Indian film on average. So, losing the US territory would be like losing a platinum card in a cash economy," said Adi Tiwary, creative director and partner, Stuart Entertainment, an Australia-based film distributor.
If the new tariff is imposed, a distributor will have to cough up an additional $1 million in taxes, for example, for acquiring US distribution rights to an Indian film for $1 million. In the long run, this could affect the business of production houses that create content with the Indian diaspora in mind, according to industry executives.
"It is critical to understand that this tariff would not exempt production houses that have offices in the US. Films produced outside the US will have to pay a 100% tariff," said Suniel Wadhwa, a veteran film distributor, and cofounder and director at Karmic Films.
"This will have a far-reaching impact not only on the business of Indian films but also on their budget and production. There must be a result-oriented dialogue between the Indian and the US governments to mitigate risks."
Industry executives believe the Trump administration is aiming to accomplish two goals with the proposal to impose 100% tariffs on non-US films. First, it serves as a response to China's policy of restricting the import of Hollywood films, as the tariff primarily affects the Indian and Chinese markets. Second, it aims to stem the continued decline in the global box office performance of Hollywood films.
According to data from the American movie database Box Office Mojo, the cumulative worldwide collection of 200 Hollywood films released in 2024 was $24.8 billion, a 26% year-on-year decline.
As the industry stares at the fresh levy, executives said a notable shift the tariff is expected to trigger is an increase in direct-to-streaming releases of Indian films.
Indian films big on style, find bigger global connect
10:04 AM
Overseas mop-up rises 30% between 2022 & 2024; ‘universal’ content, availability on streaming platforms enhance appeal
Rajesh N Naidu (THE ECONOMIC TIMES; March 31, 2025)
Mumbai: Indian films are showing higher growth in collections abroad than at home, with overseas box-office mop-up surging nearly 30% to $323 million ('2,760.6 crore) between 2022 and 2024, even as domestic growth crawled at 7.2%, according to the FICCI-EY Media and Entertainment 2025 report.
Between 2022 and 2024, domestic box-office revenue for Indian films increased a modest 7.2% to Rs. 11,800 crore, it said.
"Recently, Indian films have been telling stories which have universal emotions and global appeal. These films score well on the parameter of visual presentation of stories. Consequently, Indian films have been crossing language and geographical barriers," said Adi Tiwary, creative director and partner, Stuart Entertainment, an Australia-based boutique distributor and producer specialising in global content licensing, production and strategic partnerships.
Indian films such as 'Pushpa 2 – The Rule' (2024), 'Kalki 2898 AD' (2024), 'Pathaan' (2023), 'Jawan' (2023), 'Animal' (2023), 'Leo' (2023), 'Jailer' (2023), 'KGF - Chapter 2' (2022) and 'RRR' (2022) collected Rs. 200-500 crore each in overseas markets.
Experts said these films connected with people around the world because they use some of the same styles and techniques seen in popular Hollywood movies, and they discuss ideas and feelings that people of different ages can relate to.
For instance, 'Kalki 2898 AD' is fast-paced and uses several languages. Its style is similar to Marvel superhero movies and action films like 'Mad Max: Fury Road'. On the other hand, 'RRR' appealed to many international viewers by telling a story that felt deeply Indian and rooted in its culture.
The mix of global style and Indian storytelling has played a big role in the success of these movies overseas. It's also helped attract more non-Indian audiences to Indian films, according to industry executives and experts.
Rajat Agrawal, COO, Ultra Media & Entertainment Group, said, "Indian films have been gaining popularity even among non-Indians in overseas markets. Given the universal themes of love, family and friendship in Indian films, they have resonated with non-Indian audiences."
Producer and film business expert Girish Johar concurred, saying, "Apart from stories, Indian films are finding patronage even among non-Indian audiences because of the improved scale and quality of filmmaking."
Another factor aiding the acceptance of Indian films in overseas markets is their easy availability on global streaming platforms.
Ameya Naik, producer and founder of Fantasy Films, said, "Global streamers have played a key role in familiarizing Indian content to overseas audiences. Better subtitles and superior dubbing of Indian films on these global streamers have removed language barriers and provided overseas audiences anytime access to Indian films."
In addition to global streamers, growing online distribution, social media discussions, targeted marketing and prestigious awards at international film festivals have piqued overseas audiences' interest in Indian films. In addition, following the Covid-19 pandemic, Indian films rose to prominence as a result of the lull in Hollywood productions caused by the writers' strike.
In the overseas markets, the success of Indian films relies more on the Indian diaspora settled abroad. But there is demand for Indian films from audiences in non-traditional markets such as the Gulf (the UAE, Saudi Arabia and Qatar), North America (the US and Canada), the UK and Europe (Germany, France and the Netherlands) and Southeast Asia (Malaysia, Singapore and Indonesia). Despite such a wide overseas market, industry experts believe revenue from the Chinese markets will make a material difference to Indian films' collection given its size.
A testimony to this is the success of the Tamil film 'Maharaja' in China. Of its total worldwide collection of over Rs. 200 crore, it collected Rs. 91.6 crore from China alone, showing the potential of that market.
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