Regional content gains ground on OTT even as Hindi dominates

Despite this momentum, Hindi continues to dominate with a 40-45% share of total consumption, according to Nielsen’s Mobile Audience Measurement report for March 2025.

Beyond Hindi, individual regional languages each make up only 8-10% of total viewership. Original web series in regional languages have yet to truly break out, even within core markets, limiting the scale of investments in that segment.

Regional films such as Dragon, Premalu, Ponman, Thandel, Aavesham, and Sankranthiki Vasthunam have, however, made it to the list of top 10 streamed movies in India.

“We believe great stories transcend language and geography. Since our launch in India in 2016, we’ve built a truly multilingual service – programming in 10 languages, with user interfaces in Hindi, Tamil, Telugu, and English,” Nikhil Madhok, head of originals, Prime Video, India said. 

The platform’s diverse local language slate–from scripted series Suzhal: The Vortex, Vadhandhi – The Fable of Velonie, Dhootha, and Inspector Rishi, to the anthologies Modern Love Chennai, Modern Love Hyderabad and unscripted shows like The Rana Daggubati Show–has built strong audiences both in India and internationally, Madhok added with the success of the initial seasons has prompting subsequent seasons. 

“Today, almost 60% of customers on Prime Video India stream content in four or more Indian languages. Indian content across languages is gaining fans worldwide, too, as over 25% audience of Indian titles comes from outside India. In fact, last year Indian content trended in the Top 10 on Prime Video worldwide every single week of the year,” Madhok said.

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Deepak Joshi, CEO of Flickfusion Media Inc., USA, which owns OTT platform Chull, said the company has allocated 70% of its content budget to developing regional original programming, reflecting a commitment to the non-Hindi market. It is establishing dedicated content teams for Tamil, Telugu, Kannada, and Malayalam, ensuring that each language vertical is driven by culturally rooted storytelling.

Striking a chord

This widening of the storytelling canvas has also enabled crossovers for talent who are actively working across industries. 

Prime Video originals The Family Man Season 2 and Citadel: Honey Bunny featured Samantha Ruth Prabhu, Farzi featured Vijay Sethupathi, and Jubilee featured Prosenjit Chatterjee, among other examples. With titles that reflect the local ethos and real-life contexts, platforms say the attempt is to not just deliver entertainment, but also create authentic viewing experiences that feel personal and rooted in local realities.

“With our non-Hindi content thriving, 46% of our total 4K content consumption now comes from South India alone. This not only highlights the demand for high-quality storytelling in native languages but also reflects the growing preference for premium viewing experiences among regional audiences,” a ZEE5 spokesperson said. 

Titles like Aindham Vedham (Tamil), Sankranthiki Vasthunam (Telugu), Ayali (Tamil), Abar Proloy (Bangla), and Ayyana Mane (Kannada) have emerged as success stories for the platform. Among original shows, Aindham Vedham (Tamil) and Vikatakavi (Telugu) have not only found a draw in their local markets but also made a significant mark in Hindi-speaking markets. The service has forayed into the Kannada market and recently announced its first Marathi original Andhar Maya.

Arpit Mankar, head, non-Bollywood category at Shemaroo Entertainment Ltd said regional language content is seeing strong growth across streaming platforms and can overtake Hindi viewership if supported by a consistent and strong pipeline.

“Hindi content has the difficult task of trying to strike a chord with multiple states and heterogenous cultures, whereas regional content enjoys the natural advantage of being tailored to a more focused, homogenous audience. Creators in the regional space tend to have deeper and more frequent immersion in their own language and culture, unlike many national content creators,” Mankar said. 

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For too long, regional content was viewed as peripheral—limited in scope, budget, and ambition. That perception is now changing rapidly, said Dhruvin Shah, founder and CEO of JOJO, a Gujarati language platform. 

“Investors, advertisers, and content creators are realizing that regional audiences are not only vast but deeply loyal and culturally engaged. When delivered with quality and intention, regional content commands both engagement and value,” Shah said.

To be sure, currently, regional content accounts for around 30% of the total investment in the OTT content. This share is expected to increase and be strongly driven by dubbing and subtitling, regional content is expected to make up to 50% of the total budget allocation made by OTT platforms in the mid to long-term horizon. While budgets are currently centered around acquiring theatrical films, regional originals can cost around ₹20 crore.

Competitive pricing models and flexible subscription plans make regional OTT platforms more attractive to audiences, said Rajat Agrawal, chief operating officer, Ultra Media & Entertainment Group. Additionally, improved streaming quality, accessibility, and user experience drive engagement.

“Post the pandemic, viewing habits have changed to become more inclusive and varied. Multilingual content, be it regional or from foreign shores, is engaging audiences like never before. People in rural belts and tier-two and three cities have additionally driven the demand for vernacular content,” film producer Anand Pandit said.

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