Regional content studios diversify, aim big across Hindi, non-Hindi languages

While SVF Entertainment, one of the largest film and TV production companies in West Bengal, has recently made a Hindi web show Chiraiya for JioHotstar and is looking at Gujarati and Punjabi as well, Kannada studio Hombale Films, known for the KGF franchise, has announced a Marathi-Hindi project besides a film with Hrithik Roshan and Tamil star Suriya each.

Entertainment industry experts refer to this as a natural growth strategy that helps diversify risk and expand portfolio, given the inherent limitations of regional markets. Further, affordable Internet access, the rapid adoption of smartphones, and the surge in content produced during and after covid have created audiences that increasingly want to consume and connect with more relevant, relatable stories in their own languages than ever before.

“For regional studios, expansion is a natural growth strategy. While regional markets remain strong, they have inherent scale limitations. Today's content ecosystem is no longer defined by geography—OTT platforms have created a national and global audience for compelling stories, irrespective of language,” said Abhishek Daga, business head-content, SVF Entertainment.

The company has expanded into Hindi, Gujarati, Telugu, Punjabi, and other markets, with broader creative and business opportunities, while leveraging its strengths in storytelling and efficient content production, Daga added. “It also helps diversify risk, expand our IP (intellectual property) portfolio, and position the company as a content studio rather than a language-specific player,” he said.

Three routes to growth: cinemas, TV and streaming

Industry experts like Daga believe this is a model many regional studios can successfully adopt. The infrastructure now exists—through OTT, multiplex growth and digital marketing—for strong regional companies to build national relevance. In theatres, the opportunity lies in reaching larger audiences and benefiting from premium ticket pricing, but success depends heavily on distribution networks, screen access and marketing investments.

Television offers stable, long-term revenue through commissioned programming, although competition for audience share and broadcaster slots remains intense. OTT has arguably been the most accessible avenue for expansion. Yet, theatrical releases still come with prestige and TV continues to remain a mass medium. The route depends on budgets and script, and if the kind of distribution support they can get.

Platforms are looking for distinctive voices and stories, and regional storytelling expertise is increasingly valued. The challenge, however, is navigating changing commissioning trends and ensuring discoverability in a highly crowded content environment.

Harshit Arora, founder and CEO, Growster, a company that offers digital marketing and media buying services for brands and startups, said one of the biggest factors driving regional content businesses’ expansion into other languages has been the democratization of both content creation and consumption over the past few years.

“Once content creators built thriving communities in their regional markets, they learned that other linguistic audiences have similar opportunities. Today, creating and distributing content across several languages is much easier than in the past. Content businesses that do not expand into multiple languages will miss out on significant audiences and revenue opportunities,” Arora said.

To be sure, India does not function as a single cohesive or uniform market. It comprises numerous independent and autonomous ethnic, regional, and demographic markets, each with its own culture, distinct needs, behaviour, and viewing preferences. This results in both enormous opportunities and challenges for content providers in defining their target audience.

According to industry experts, the entry of studios into Hindi or other regional languages comes with several business risks. Such ventures over the past few years have typically led to budget inflation, higher regional star fees and costlier marketing for an audience that remains limited and niche, in many cases. "Entering southern or other regional markets could result in unsustainable budgets. What really matters is whether the investment matches audience familiarity, market depth and recovery potential,” film producer Anand Pandit said.

However, regional players come with certain strengths.

Growing appetite across languages

Anil Goel, chief technology officer at media audience measurement firm Nielsen, said for regional platforms, the opportunity lies in serving highly engaged communities rather than pursuing the scale of global streaming giants. Their success is likely to depend on offering a compelling mix of original content, local talent, cultural programming, and experiences that resonate deeply with specific audiences.

“For decades, Indian media companies were built around linguistic boundaries. Today, streaming platforms, connected TVs, short-form video, and social media have fundamentally altered content discovery. Audiences are increasingly willing to consume stories across languages as long as the narrative feels authentic and culturally relevant,” said Amit Dhawan, co-founder at VibeTheory.ai, an AI-first creative and digital transformation company. He added that films like Kantara, KGF, Pushpa, and Manjummel Boys have already transcended their original markets and created national demand.

From a business perspective, this shift is being driven by the economics of intellectual property. Theatrical revenues alone are no longer enough to maximise returns. “Studios are now evaluating content through a much wider monetisation lens that includes streaming rights, satellite syndication, international distribution, brand integrations, creator ecosystems, and digital engagement. A successful IP today can generate value across multiple platforms and languages,” Dhawan added.