Aamir Khan is shaking up the film industry by releasing his latest movie, “Sitaare Zameen Par,” on YouTube via a pay-per-view model, sparking debate on whether he’s truly protecting cinema or ushering in a new era of digital distribution.
A Dramatic Shift in Release Strategy
Just weeks before “Sitaare Zameen Par” hit theatres, Aamir Khan firmly stated that the film would not come to YouTube. He claimed it would only be available on digital platforms or satellite television a full year after its big screen debut.
However, two months later, Khan announced a surprising change of plans. The film would indeed skip traditional streaming platforms and instead premiere on his new YouTube channel, Aamir Khan Talkies, for a mere Rs 100. He even apologized for his earlier misleading statements, confessing he “had to lie in order to protect cinema then.”
Understanding the Pay-Per-View Model
Aamir’s new model allows viewers to watch the film for a one-time fee of Rs 100. Once purchased, the film can be stored for a month and must be viewed within 48 hours of starting it. This direct-to-consumer approach means Aamir Khan Productions gets a larger share of the revenue, unlike traditional streaming deals.
Khan believes this model democratizes access to cinema. He highlights that only 2-3% of India’s population goes to theatres, while 55 crore Indians use YouTube daily. For him, it’s about making films accessible to a much broader audience, especially those who can’t afford or prefer not to visit cinemas.
Beyond Traditional Streaming
Aamir has been vocal about his reservations regarding the standard eight-week window for films to move from theatres to streaming platforms, believing it harms theatrical business. By choosing YouTube, he bypasses this industry norm.
Industry insiders suggest a practical reason behind this move: economics. After “Laapataa Ladies” underperformed in theatres but found success on Netflix, much of the digital revenue reportedly went to the streaming giant. The pay-per-view model ensures more money goes directly to the production house.
Impact on Theatrical Runs
The industry is divided on whether digital availability, even on a pay-per-view basis, will hurt theatre attendance. Aamir and PVR INOX management reportedly felt that the Netflix logo on “Laapataa Ladies'” poster contributed to its slower theatrical run, unlike Vidhu Vinod Chopra’s “12th Fail,” which thrived without an early digital rights sale.
However, some experts argue that a film’s quality is the ultimate factor. If a movie is good, people will watch it, whether in cinemas, on YouTube, or via a streaming service. They see YouTube’s massive reach as a potential win-win for both audiences and producers looking to avoid restrictive streaming windows.
The Road Ahead: Challenges and Opportunities
While Aamir’s intentions may be noble, challenges remain. A major concern is piracy; established streaming platforms have robust anti-piracy measures, but YouTube’s capabilities in this regard for new film releases are still untested. This new model is a significant departure and its long-term viability is yet to be seen.
Some industry observers question if this is truly “saving” cinema or just a strategic business move by a powerful producer. There’s speculation that Aamir might even release smaller films directly on Aamir Khan Talkies, reserving his larger productions for theatrical releases.
- Aamir Khan reversed his stance, releasing “Sitaare Zameen Par” on YouTube for Rs 100 six weeks post-theatrical release.
- The pay-per-view model on YouTube aims to reach a wider audience beyond the traditional theatre-going population.
- This strategy allows Aamir Khan Productions to bypass standard streaming windows and retain more direct revenue.
- Industry concerns include potential impacts on theatrical runs and the challenge of curbing piracy on YouTube.
Aamir’s bold move with “Sitaare Zameen Par” signals a potentially disruptive shift in how films reach audiences, leaving the industry to ponder its long-term implications for both traditional cinema and digital distribution.
