Global giants and homegrown platforms are now reshaping South India’s OTT story

Following the breakout success of Indian hits like TEST and The Game: You Never Play Alone, Netflix has doubled down on the southern market — announcing six new and originals. With titles like Vijay Sethupathi’s Maharaja, Dulquer Salmaan’s Lucky Baskhar, and pan-India blockbusters Pushpa franchise, Leo, and Devara topping charts, the streamer’s growing investment signals one thing clearly: South Indian content now also drives the country’s streaming wave.

OTTs script a new chapter for South cinema
As global platforms scale up their South Indian slate, a vibrant ecosystem of regional OTT players — from aha (Telugu) and Sun NXT (Tamil) to ManoramaMAX (Malayalam) and NammaFlix (Kannada) — is transforming how local audiences consume and connect with cinema. These platforms are expanding through affordable subscriptions, mobile-first access, and diaspora outreach, while state governments are now stepping in to nurture regional cinema digitally. After Kerala’s C-Space, Karnataka is set to launch its own OTT platform to promote Kannada films, with a modest subscription fee of about `100 per month. A 10-member committee, headed by the Commissioner of the Department of Information and Public Relations, is studying Kerala’s C-Space and Prasar Bharti’s Waves as models — a sign that local storytelling is finally being backed by local streaming.

Need for a strong local OTT for Kannada cinema
Talking about the need for a strong localised streaming presence for the Kannada film industry, actor and filmmaker Vijay Kumar, who is also part of the committee leading the Karnataka government’s OTT initiative, says there is an urgent need for a localised platform like the Telugu industry. “The reputation of Kannada films is not very great on pan-India platforms like Netflix and Amazon Prime because the wrong films were showcased in the initial days when these platforms were introduced in our country, and they did not work. So now, the national-level OTTs refuse to take in good Kannada films too. But neither do we have strong local OTT platforms that have good reach but are also affordable for viewers,” he says. Vijay adds that a local OTT platform will change the way audiences see the Kannada film industry.

Telugu platforms lead the regional OTT wave
Telugu platforms like aha and ETV Win have already shown how homegrown OTTs can thrive by focusing on language-first content and deep regional reach. “Local OTT platforms like Aha and ETV Win are doing really well because they cater specifically to regional audiences,” says Praveen Kandregula, director of Cinema Bandi and Paradha. “In many Telugu households, viewers prefer watching only Telugu content — that’s the strength of these home-grown OTTs: they’re focused, familiar, and accessible.” Praveen adds that regional platforms are reaching small towns and villages where global streamers might not and have become “almost a substitute for regular television” — offering family-friendly shows and original films that appeal to all generations. Director Karthik Gattamneni (Mirai) agrees, saying, “Regional OTT platforms have significant scope for good-quality content if they consistently deliver strong projects. The recent film Little Hearts, produced by ETV Win, is proof that regional platforms can create and carry successful cinema.

The Tamil market: Balancing value and reach
In Tamil Nadu, producers take a more pragmatic approach to digital distribution. According to producer and distributor G Dhananjayan, the choice of platform depends on value and visibility. “For outright digital sale deals, producers are fine with any platform as long as they get the right value. What matters is recovering their investment,” says Dhananjayan. “For revenue sharing, producers prefer Amazon Prime because it has a huge reach and generates substantial revenue through that model,” he adds.

Malayalam producers juggle between global and local platforms
For Malayalam cinema, the choice between global streamers and local OTTs often comes down to visibility versus flexibility, says Jomon Jacob, producer of The Great Indian Kitchen and The Chronicles of the 4.5 Gang. “Platforms like Netflix, Amazon or SonyLiv are preferable because they’re more financially viable and the reach is wider. But selling to them isn’t easy — their business strategy has changed since the COVID-19 pandemic,” he explains. Local platforms, on the other hand, are often ‘plan B’ options. “They mostly collaborate with bigger streaming services, and filmmakers turn to them for OTT releases after the theatrical run. Sometimes, we even give content on a non-exclusive basis,” says Jomon. He adds that tie-ups help maximise revenue. “JioHotstar is popular for Kerala content because of its partnership with Asianet, a well-known TV channel in the region. Selling content to them automatically gives satellite rights to the channel — it works well. But if we sell to other platforms like SonyLiv, for instance, we need to reach out to TV channels again for satellite rights,” explains Jomon.

‘Today’s viewers want a wider content range’
Kannada stories continue to be a key growth driver for ZEE5, says Deepak Sriramulu, Business Head – Kannada. “Kannada audiences have always had a strong appetite for stories that reflect their lives and emotions,” he notes, adding that viewers are now seeking “a wider range of content—from relatable dramas to bold, experimental formats.” Following the success of Ayyana Mane and Shodha, ZEE5’s upcoming Maarigallu aims to build on that momentum. Deepak highlights that nearly half of ZEE5’s total viewership comes from South Indian languages, with Kannada playing a major role. “Audience preferences are evolving but remain rooted in regional identity,” he says. He adds, “For us, Kannada isn’t a standalone market—it’s an integral part of our national narrative, ensuring local resonance with a national reach.”