How Streaming Is Redefining Success in Hindi Cinema

 The OTT space is a boon for films that fail to find a substantial theatrical audience — recent examples being Haq and Homebound. Filmmaker Anurag Kashyap explains, “My Nishaanchi was released in two parts in 2025. When the first part came out in cinemas, it was rejected. I was told audiences didn’t like the film being split because of its length. Since the first part flopped, Amazon released both parts simultaneously on OTT — and audiences loved it,” he says.

OTT, by design, is more accommodating of lengthy narratives and long-form storytelling. Viewers can engage at their own pace — something cinemas do not permit. This is particularly relevant for films with extended running times and multi-episode, multi-season series. Roshan Singh, a leading exhibitor from Bihar, points to the theatrical limitations of long films. “Watching Dhurandhar for three-and-a-half hours could be an ordeal for many viewers, especially during winter in North India. I am certain Dhurandhar will perform far better on OTT,” he says.

Is OTT a blessing or a curse?

“Both,” says Sanjay Leela Bhansali. “I could never have made Heeramandi for the cinemas. Each episode was like a feature film. In effect, I made eight feature films as one series. How would that have been possible in theatres?”

However, not every series is Heeramandi. A significant volume of content that once found easy passage to OTT platforms is now facing rejection. Films that were earlier dismissed by theatrical audiences are no longer automatically welcome in the digital space either. The Tiger Shroff-starrer Ganapath (2023), reportedly acquired by a major OTT platform for close to `80 crore, was eventually rejected for being substandard — despite contractual obligations.

The message is unmistakable: poor quality is no longer being tolerated. This tightening is especially evident in the case of seasonal series. The Family Man – Season 3, streamed a few months ago, was widely criticised for weak writing and subpar production values. According to a leading filmmaker, the season was greenlit immediately after the success of Season 2, with minimal quality checks. “Season 3 hasn’t performed at the level of the earlier seasons, and the makers will now face stricter scrutiny before the next season is sanctioned.”

In other words, creators who once enjoyed automatic renewals may now encounter tougher commissioning norms, tighter budgets, and closer performance evaluation.

Quality control on OTT too

Major OTT platforms have strengthened their content-quality mechanisms. Some executives entrusted with quality control were even removed for failing to enforce standards rigorously. Big names who once received approvals for five or six seasons upfront — sometimes before completing Season 1 — are no longer being given a carte blanche.

In one instance, a leading content creator who received approval for an additional season of a successful series found another proposed project being subjected to financial scrutiny mid-shoot by a major platform.

“Big names would draw massive paycheques for unlimited seasons, after which quality would dip,” says producer Pahlaj Nihalani. “The producers bore no losses. The OTT platforms absorbed them all.”

Yet the content flow works both ways. Even as mediocre material is filtered out, genuinely meritorious films that failed theatrically are finding renewed life on OTT. Haq and Homebound — both box-office underperformers — have emerged as clear successes in the digital space.

Neeraj Ghaywan reflects on Homebound’s journey: “The love the film received at festivals worldwide did not translate into an audience — until it reached streaming. Homebound has finally found its home.”

How is success measured on OTT?

Trade analyst Taran Adarsh cautions against easy assumptions. “OTT success is not judged by the same parameters as box-office performance. Unlike theatres, viewership numbers are not made public. Often, production houses and stars shape the narrative of an ‘OTT success’ when theatrical outcomes tell a different story. Such claims should be treated with caution unless they come directly from the platform.”