If you find a new emoji online that vaguely resembles an actor, or you see your favourite Instagrammer heaping praises on an upcoming movie one fine day, or if you find memes about a particular movie flooding your social media feed for days – and you can’t quite understand why it is happening, it’s time you get acquainted with the new ways in which films are promoted online in our pandemic-stricken world.
Celebrities have gone from smiling at us from hoardings to posting Instagram reels that are relatable. Newspaper advertisements and reality show appearances have now been replaced by celebrity collaborations with YouTubers and social media influencers. With lockdown restrictions in place, makers have no choice but to replace physical events in malls and colleges with online fan events. Although traditional modes of advertising are still in the mix, it goes without saying that digital marketing has become an indispensable part of film promotions after the onset of the coronavirus pandemic.
With over-the-top (OTT) platforms taking over marketing of films, conventional promotion templates remain mostly sidelined. The premiere of Navarasa’s (an OTT project) trailer at Burj Khalifa, the Sarpatta Parambarai Instagram reels and memes that were reshared by Arya and other cast members, the Jagame Thandhiram Twitter Spaces session, and the involvement of filmmakers in Clubhouse in recent times are all examples of digital strategies that have gained traction in recent times.
Join the 'Kongaas Kootam' madness on 17th June..... #JagameThandhiram#LetsRakita#JagameThandhiramonNetflix pic.twitter.com/VBysSYLEzc
— karthik subbaraj (@karthiksubbaraj) June 13, 2021
Promotions of films have largely been star-centric in the past. The opening numbers and box-office collections were predominantly used as indicators of an actor’s success, especially in Kollywood. While it would be a stretch to say that the ecosystem has changed entirely, experts agree that the onus is now on the content of films, especially with regards to OTT releases.
Citing the example of Suriya’s Soorarai Pottru, Gautam Pattik
Even in the case of theatrical releases, Gautam adds that it is not the marketing but the content of the movie that will pull audiences to theatres. “Although the stars and the marketing strategy will help bring people to the theatres on the first day, we cannot cross the line or go overboard with promotions. The hype and buzz won’t prevail if the film is not up to the mark.”
Elaborating on how false marketing could backfire, Kiranraj K, director of the upcoming adventure-comedy 777 Charlie, points out, “We’re particular about not giving the wrong idea about the film to audiences by adding scenes or action sequences that are not in sync with the theme of the movie, since the principal focus is on the dog, Charlie, and his bond with Rakshit’s character. If you see the trailer, 95% of the video shows Charlie and we see Rakshit only for the remaining time.” He also adds that Rakshit signed the project knowing that it was not a star-centric film.
Explaining how it is cardinal for the core messaging of the promotional activities to align with the crux of the film, Gautam notes that the marketing team of Jathi Ratnalu was keen on establishing a connect with younger audiences since it was an entertainer. “Our merchandise which included graphic t-shirts featuring punchlines and dialogues from the film, on-ground interactions like the cast visiting colleges and malls, as well as the film’s music helped us get the word out about the film,” he says. Films like Jathi Ratnalu as well as 777 Charlie also face the humongous pressure of getting audiences back into cinema halls.
Sangeetha Janachandran, the founder of Kochi-based marketing and communications agency Stories Social who is helming Malayalam film Kaanekkaane’s marketing and PR team, explains how the film’s promotions were centered on human relationships since the film explores emotions in detail. “Since Kaanekkaane is a relationship-oriented story, all the activations we have done so far had the messaging of bringing everyone together. We’re also trying to put together an event with select members from the audience… we’re still figuring out if it is going to be held offline or online,” Sangeetha tells TNM.
The fact that audiences are increasingly focussing on the content rather than movie stars is also evident from the success of recent Malayalam films like Nayattu, Virus, Joji and especially The Great Indian Kitchen, which were bereft of fancy marketing but were big hits.
Creating a level playing field for all actors, the rise in projects made exclusively for OTT has come as a ray of hope for both actors and audiences alike. As opposed to films like Suriya’s Soorarai Pottru, Dhanush’s Jagame Thandhiram, F
How did we craft our journey - ever wondered? Here's how✨@rakshitshetty @Kiranraj61 @nobinpaul @RajbShettyOMK @sangeethaSring @actorsimha @DanishSait @PrithvirajProd @StonebenchFilms @ParamvahStudios#777Charlie #TortureSongOutNow #777CharlieOnDec31 pic.twitter.com/8v72a8swQW
— 777 Charlie (@777CharlieMovie) September 17, 2021
Our cast and crew coming together this evening on Instagram Live, at 5 PM. Stay tuned for some real conversations! #BringingEveryoneTogether #KaanekkaaneOnSonyLIV #Kaanekkaane pic.twitter.com/J1FK8FjrG2
— Tovino Thomas (@ttovino) September 16, 2021
In pre-pandemic times, films did not always dedicate a significant chunk of the budget for marketing, says Sangeetha. “I have come across beautiful projects that only hired a marketing firm or figured the budget for marketing spends after the entire film was shot,” she notes.
Despite the success and popularity of films premiering on streaming platforms, insiders say there is hesitancy to invest on digital marketing and promotional activities among producers, especially veterans.
“A lot of producers don’t understand the benefits of digital promotions. Even if they do, they are sceptical about investing. We were glad that Rakshit Shetty and GS Gupta, who are bankrolling 777 Charlie, understood how important digital promotions are for the project,” filmmaker Kiranraj shares.
Illustrating how incorporating data analytics into marketing of films has enabled makers to reach out to their target audience through digital ads, he says that his team researched extensively about pet lovers across the country and targeted them specifically while putting out promotional material like the teaser and singles from the film. “Pet adoption rates have increased tremendously during the lockdown. Apart from the massive response we have been garnering from family audiences, we’re also expecting to see pet lovers in theatres,” Kiranraj says.
“Earlier, many films failed to recognise the reach of digital marketing. Producers have been waking up to its scope only after the success of recent OTT releases,” Sangeetha quips. The lack of digital promotions also varies from one industry to another. While Mollywood is yet to use influencer marketing as much as other film industries in the south, Sandalwood films seldom manage to grab eyeballs outside Karnataka.
“I feel Sandalwood filmmakers know their audiences in Karnataka well and are able to efficiently promote films online within the state. But creating a buzz in other states is comparatively difficult,” Kiranraj says. He also adds that the promotions required for pan-Indian projects is much higher than regional films, since regional teams need to be set up and coordinated with.
Speaking on similar lines, Sangeetha explains how it is important to understand the trends and audiences in each industry before coming up with a strategy. With OTTs becoming more and more active in the game, experts point out that marketing of films is becoming more corporate too. “For many OTT releases, the streaming platforms take over marketing, outsource their work and tie up with regional agencies. This is beneficial for both the parties,” Sangeetha says, adding that this enables streaming giants to ensure that the marketing fits their brand, but at the same time is rooted to the regional film industry and establishes a connect with the relevant audience.
Meanwhile, the jury is still out on whether the economics of releasing a big-budget film on OTT is favourable for producers. The pace at which theatres will reopen once the pandemic subsides is uncertain too. But it looks like OTT and theatrical releases will co-exist, and the pivot to digital is here to stay.