Opinion | How Direct-To-Digital Films Have Changed Our Lives – News18

Last Updated:November 02, 2024, 16:07 IST

During the pandemic, while theatres were closed, direct-to-digital films became the only option for urban viewers. Even long after theatres reopened, these films have often emerged as a more appealing alternative

A direct-to-digital film might sometimes feel suited for a big-screen experience. On another day, a different OTT original might seem perfect for an OTT platform. On a rare third occasion, we may find that a talented actor, who hasn’t had good opportunities in big-budget films, has finally been given a well-written role in a direct-to-digital film that does justice to their talent.

Any reaction we have is a result of watching a direct-to-digital film closely, in the privacy of our homes. It is, in short, entertainment without distraction.

Films of Diverse Genres

Anyone with subscriptions to OTT platforms would have realised that some offer good original films quite often. When the theatres remained shut for a long time because of the Covid-19 pandemic, many producers chose the OTT route since they didn’t want to postpone the release of their films. Since then, there has been a notable increase in films providing variety for OTT audiences.

More than a few readers would have watched Shashanka Chaturvedi’s recently released thriller Do Patti co-starring Kajol as a no-nonsense cop and Kriti Sanon, also co-producer, in the dual role of twins with contrasting qualities. Do Patti is not a brilliant thriller such as, say, Honey Trehan’s engrossing Raat Akeli Hai or Vasan Bala’s Monica, O My Darling, a neo-noir thriller so good that many viewers would have watched it several times. Despite a deeply flawed screenplay with superficiality as its biggest weak point, Do Patti is a well-intentioned film highlighting a social evil: domestic violence.

An unusual subject for a biographical drama can make for interesting viewing, provided, of course, the film is well-made. A recent film of that genre, which has received significant critical acclaim, is Imtiaz Ali’s Amar Singh Chamkila, a superb film based on the life of its eponymous protagonist. Chamkila was a Punjabi musician who lived an eventful life before he was gunned down, along with his singer-wife, by unknown killers in broad daylight.

Diljit Dosanjh sparkled as the titular character of Amar Singh Chamkila, just as Vicky Kaushal did as the eponymous protagonist in Shoojit Sircar’s Sardar Udham, a biographical drama based on the Indian revolutionary, which had a direct-to-digital-release because of the Covid-19 pandemic. Today, Sardar Udham’s release in 2021 feels like an old story–although any three-year-old film is fairly recent. That is primarily because OTT platforms introduce new content every week, as the never-ending race for leadership in the business of OTT entertainment continues.

A couple of new releases target Gen Y (or Millennials) with reasonable success. Arjun Varain Singh’s coming-of-age drama Kho Gaye Hum Kahan, about three Gen Z buddies, serves as a cautionary tale about life in the age of social media. It is a relevant film, particularly for those who spend a lot of time online. Vikramaditya Motwane’s screenlife thriller CTRL explores what happens when the seemingly perfect relationship of a social media couple goes wrong. The girl discovers that her partner has been cheating on her, prompting her to turn to an AI app—with unexpected consequences.

Kho Gaye Hum Kahan and CTRL are tailor-made for urban OTT viewers, including a significant number of Millennials who go to bed with smartphones in hand for late-night indulgence. Such films resonate with viewers who find them relatable, as their personal lives are somewhat similar, and with others in urban societies who are aware of the troubling realities of social media addiction and dependency in today’s world.

Direct-to-digital films which can be watched in the privacy of our homes offer variety because that is what the viewers seek. Rahul V. Chittella’s Gulmohar, an ensemble melodrama about the complexities of family life, is eminently watchable due to its engaging story and performances. Hitesh Bhatia’s Sharmaji Namkeen is a feel-good family film with a unique attribute: two actors portray the same role of a retiree—Rishi Kapoor, who plays it brilliantly, and Paresh Rawal, who admirably took over the role after Kapoor’s death. It serves as a poignant reminder for Kapoor’s fans, as it was his final performance.

For those who enjoy action films, Ali Abbas Zafar’s Bloody Daddy and Shantanu Bagchi’s Mission Majnu are both in the same genre but possess different characteristics. Revisiting Amit V. Masurkar’s Sherni, a socially relevant film that highlights the importance of wildlife conservation, might also be worthwhile. Anvita Dutt’s Bulbbul delivers a feminist message through its story set in 19th-century Bengal, while Sujoy Ghosh’s Jaane Jaan and Shashanka Ghosh’s Freddy are well-directed thrillers with intriguing plots.

In modern times, a few days before a much-anticipated weekend or holiday, many people check newspapers and websites for information about new direct-to-digital films and web series set to stream during their break. Some may opt for older content they have yet to watch. Will the number of such viewers increase? It certainly will, as time goes on.

The writer, a journalist for three decades, writes on literature, cinema and pop culture. Views expressed in the above piece are personal and solely those of the author. They do not necessarily reflect News18’s views.