Recently, Netflix India announced its upcoming slate of Indian original films in Mumbai, with The Telegraph in the house. Post the reveal, we sat down with Monika Shergill, VP, content, Netflix, to look behind and ahead at Netflix’s programming, potential and promise.
Monika Shergill, VP, content, Netflix India
How has the Indian slate of films done for Netflix over the last one year and what prompted an initiative like #FilmsDay?
We have had an incredibly successful film slate across the original titles as well as the post-theatrical titles that have come on the service. We have had our films travelling much wider across countries; we have seen our film slate consistently featuring in the global non-English Top 10. In fact, for 31 out of 34 weeks, we have had Indian titles within the global Top 10. India is the only country that had five titles in one week on that list.
We are really building on our film slate and going from strength to strength. The lineup that we have ahead is very juicy, so dazzling and so interesting. Every story is in such a unique space. People would earlier say that stories that are not being made otherwise are coming on OTT. That’s not the lens with which we have programmed this new slate. In fact, each story holds its own. The kind of talent we have on these films, both on screen and off it, is superlative. It’s also the 25th anniversary of Netflix as a DVD rental company... we started with renting out films. It’s a time for nostalgia, it’s a time for celebration. It’s a time to look back and see how far we have come. What we have been able to do in the way people consume entertainment, the kind of choice, access and flexibility they have, and really what they are exposed to on the service.
Is there anything that binds all these titles that you have announced now?
What binds all of our programming strategy — whether it’s our films, series or documentaries or the reality that we programme — is diversity. It’s a critical part of our global content strategy. We also emphasise on high quality. For us, it’s a constant learning curve. As an entertainment service, we believe that we are here to do better every time. We are aware that there is fierce competition and that everyone will programme great content. We have to work hard every single day to delight our fans with the most diverse content, with the most novel stories.
If you look at our programming over the last few months, we did India’s first interactive adventure special with Ranveer vs. Wild with Bear Grylls, we took RRR and Gangubai Kathiawadi, which are both incredible films, global and both these films have had a tremendous second life on Netflix after their spectacular theatrical run. Bhool Bhulaiyaa 2 also had great viewing on the service. We have had our own big titles like Darlings, Haseen Dillruba.... We had Minnal Murali, which was a superhero story set in a tiny village in Kerala... the image on the platform that drove the maximum number of people across the world to click on and watch Minnal Murali was him (Tovino Thomas) in the dhoti and with the gamchha flying behind him as a cape! That’s what is so exciting for us... that the more local you are, the more global the opportunity you have to be on Netflix.
We are always mindful of the fact that we need to stay ahead of the audience. So all the new film titles that have been announced pack a lot of punch.
How much have the changed viewing patterns brought on by the pandemic informed and influenced this new slate?
The audience is now aware of what kind of stories are being told globally, what is the level of craft there... whether it’s exposure to themes and subjects or global quality VFX.... Also, the audience has become very language agnostic. That pushes us to experiment a lot more. Earlier we would think a lot more whether a theme would work... is it too early? Is it too edgy? We don’t ask those questions anymore. In fact, we challenge ourselves as a team and we keep asking ourselves, ‘Are we really pushing the envelope in a way that surprises the audience?’
‘Surprise’ has become a very important part of our new programming strategy. Even though it’s always said that there are only that many stories and that many emotions, our goal always is to work within that and bring in the maximum diversity.
Among the new film titles, which do you think will spring the maximum surprise?
I genuinely believe Jogi will touch people... it’s a very powerful, moving and important story to tell. The emotion that it leaves you with is very powerful. The Archies is going to be such a different film. Khufiya is a very different espionage thriller and to get Vishalji (Bhardwaj) to come on the service has been special. Monica, O My Darling is wacky, twisted, crazy....
Very vain of you to have a film named after you!
Oh my god... so vain I tell you! (Laughs) To be honest, I fought with my name, I begged them to keep another name... but then this suits the film. But it is a fab film! We have a mid-air hijack drama called Chor Nikal Ke Bhaga which will keep you tied to your seat. There is Qala, there is Chakda ’Xpress.... Each of the films occupies its own space, there is no overlap.
We have, of course, had Brahmastra now, but how much do you think the overall lull in the theatrical box office that we have had in 2022 has propelled content creators and producers to turn to streaming platforms?
I think creators, and in fact all kinds of talent, are becoming medium agnostic. At the end of the day, audiences are moving across mediums so fast. They are going to theatres, they are rewatching those same titles on streaming, they are watching streaming originals, they are watching eventised programming on TV, people are listening to podcasts, so much of YouTube and social media is being watched... content consumption is at an all-time high. People are looking for fresh stories, new perspectives, in all formats and durations. For creators, to be available to audiences across mediums and formats has become very essential.
There are so many young audiences on streaming that creators have also understood that they have to grow with their viewers. Streaming is also very important to reach global audiences, and creators understand that. Across mediums, there is tremendous cross-pollination. Overall, as an industry we are maturing.
During the pandemic, you had a captive audience and viewership spiked for streaming platforms in a big way. Now that people are going out and have other avenues of entertainment, how are you planning to hold on to this audience?
I agree that there was a dip. During the pandemic, there was a huge spike, but we have settled down now, and I speak for all streaming platforms. At Netflix, all the shows and films that we have coming out now are in different formats. This is only the local slate. Between Indian, Hollywood, Korean, Spanish... there is so much to watch. We have now settled down to a very healthy watch behaviour. Every Tuesday, we release our ‘viewing hours’. Quoting third-party data, I can tell you that audiences spend 50 per cent more time on Netflix than on any other streaming platform.
