'Drishyam' makers back Mollywood as pan-India content powerhouse, call for studio-driven ecosystem

Long ago, Mollywood could hardly imagine films crossing the Rs.50 crore – Rs.100 crore mark at the box office. Today, the industry, celebrated for its content-driven storytelling, is rewriting those limits, with films like 'L2: Empuraan' and 'Manjummel Boys' storming past the Rs.200 crore milestone.

The growing scale and global appeal of Malayalam cinema is now drawing major players such as Panorama Studios into the industry. In an exclusive interview with Onmanorama, Panorama Studios founder Kumar Mangat Pathak and managing director Abhishek Pathak, long associated with the Drishyam franchise, said Malayalam cinema was always one of India’s most compelling and content-rich industries.

According to them, Mollywood’s next leap lies in embracing a large-scale studio culture. “What drew us to Malayalam cinema was always its storytelling. We’ve followed Malayalam films for years, and it was the strength of the writing that truly stood out. Over the last decade, especially through the growth of the Drishyam franchise, we realised there was enormous scope to collaborate with this industry. Over the past two years, we’ve actively met Malayalam filmmakers, signed writers, and explored stories However, the industry still largely operates within a traditional production ecosystem. There isn’t a structured studio culture yet.

Bollywood once functioned the same way. Punjabi cinema still follows a similar model. But when studios entered Bollywood, the business became far more streamlined and sustainable. Malayalam cinema today represents that same opportunity. Right now, independent producers must separately negotiate OTT deals, satellite rights, overseas distribution, and domestic theatrical releases. A studio-driven ecosystem simplifies the entire process,” Kumar and Abhishek said. Panorama Studios has bought the theatrical and OTT distribution rights of the Drishyam franchise.

‘Drishyam’ is already a celebrated film and a source of immense pride for Malayali audiences. What convinced you to become part of its legacy?

“If you look at our films like Omkara or Pyaar Ka Punchnama, none were initially expected to become massive commercial successes. It was similar with Drishyam. When we first watched the Malayalam original, what struck us most was its emotional depth and strong family core. We felt audiences everywhere would connect with it.

At that time, we never imagined it would evolve into such a massive franchise. But after acquiring the rights, the second part expanded the universe even further. Television premieres, OTT streaming, and repeat viewing turned Georgekutty and Vijay Salgaonkar into iconic characters with a cult following. Ultimately, it was the strength of the story that transformed Drishyam into what it is today,” said Abhishek, who has directed the second and third installment of the Hindi franchise.

‘Franchises should never exist out of vanity’
“A strong fan base definitely helps because audiences are willing to return to theatres when they trust the makers. But franchises should never be built out of vanity or commercial pressure. Unless there’s a truly compelling story to tell, it’s better to wait than disappoint audiences with weak continuations,” he said.

With OTT platforms becoming increasingly selective and prioritising films with strong theatrical performance, how can Malayalam cinema continue breaking through?

“I don’t think the OTT market is saturated. Platforms are still willing to acquire films at the right valuation. The issue arises when producers quote unrealistic prices even before release. Naturally, platforms become cautious and prefer waiting to assess theatrical performance first," said Abhishek who adds it is difficult to predict how large the market could eventually become.

Panorama is now inking deals directly with artists in South India. It's also interesting to learn that you have signed up several projects with Nivin Pauly...

Our collaboration has been envisioned as a multi-film partnership spanning production, creative development, and acting. “We want to work with both established stars and emerging talent. Our goal is to produce at least 12 films a year across multiple actors, directors, and writers. More importantly, we want to help filmmakers and writers establish themselves by consistently backing strong stories. It’s a mutually beneficial model: we get quality films, audiences receive fresh content, and filmmakers get the platform they deserve.

‘Great stories can travel across languages and continents’
The Panorama Studios team also believes global audiences are increasingly open to stories crossing language barriers.

“I see remakes differently from many others. There are still audiences who don’t enjoy subtitles or foreign-language theatrical experiences. They want to engage with stories in their own language. We are already creatively involved in adaptations and remakes across languages, including Spanish and Korean versions. If these collaborations succeed, they could eventually lead to much larger international partnerships,” Abhishek added.