Kerala’s OTT Platform ‘CSpace’ Struggles to Gain Traction

Speedy Summary:

• Kerala government’s OTT platform, ‘CSpace,’ launched in March 2024, has received mixed traction with close too 6,000 purchases and a total of 30,000 views so far.
• Teh platform operates using a pay-per-view model where producers earn a 50% share of viewer payments.Viewing prices are ₹75 for feature-length films and ₹10 for short films under 10 minutes. Purchased content remains accessible for up to one month.
• CSpace aims to provide visibility and revenue-sharing opportunities for low-budget autonomous films, especially those created by filmmakers from Scheduled Castes (SC), Scheduled Tribes (ST), and women directors.
• Films such as B 32 Muthal 44 Vare directed by Shruthi Sharanyam and Nishiddho directed by Tara Ramanujan rank among the top-viewed titles on the platform.
• Cultural Affairs Minister Saji Cherian acknowledged that while early efforts have been promising, challenges remain in competing against major commercial OTT platforms due to limited popular or mainstream content availability.
• Discussions within the Kerala State Film Growth Corporation (KSFDC), which runs CSpace, suggest plans are underway to enhance the film library further by including titles from other languages.

Indian Opinion Analysis:
Kerala’s launch of its own state-run OTT platform represents an innovative cultural initiative aimed at promoting independent cinema alongside traditionally underrepresented voices-such as SC/ST filmmakers and women directors. While this model supports inclusivity in filmmaking, its success hinges on balancing cultural goals with commercial viability. The absence of popular mainstream films limits broader audience engagement despite affordable pricing.

Given existing competition from large private OTT giants offering diverse libraries and extensive marketing reach, scaling viewership may require strategic expansions-such as licensing prominent regional or national hits alongside independent offerings-to cater to mass preferences without compromising cultural objectives. However commendable its intent may be as a social intervention tool rather than profit-driven entertainment business model; sustaining momentum will depend greatly on enriched accessibility paired w/in quality aligned demand .

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