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Women Have Only 29% Talk Time In Trailers: Prime Video’s O Womaniya! Report

MM Desk by MM Desk
December 16, 2024
in What’s Buzzing
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Women Have Only 29% Talk Time In Trailers: Prime Video's O Womaniya! Report

Prime Video has released the latest edition of O Womaniya! Report, a study on female representation in Indian entertainment. Researched and curated by media consulting firm, Ormax Media, produced by Film Companion Studios, and championed by Prime Video, the O Womaniya! 2024 study delves deeper into current and emerging trends, while identifying gaps in female representation across key areas of production, corporate leadership, and marketing in Indian entertainment.

This year, the report analysed 169 films and series released in 2023 in nine Indian languages (Hindi, Tamil, Telugu, Malayalam, Kannada, Marathi, Punjabi, Bengali, and Gujarati), across streaming and theatrical.

Key findings of the report include:

Content – The O Womaniya! Report institutionalised a new test, Gender Equality Toolkit, this year to measure female representation in content, and also enable filmmakers to apply the test and eliminate biases early on in the content creation cycle. The test checks whether women in a film or series have agency, and are drivers of their own stories or are just accessories to driving the male point of view in storytelling.

Only 31% of the titles analysed passed the Gender Equality Toolkit test, with streaming series taking the lead with 45% of them passing the test. The report also revealed that more stories pass the test when there is a female commissioning-in-charge, as 48% of the titles that passed the test were commissioned by women. The report also deployed the more traditional Bechdel Test to analyse content to reveal almost half the titles falling short on this test as well.

Creative Talent – Only 15% of the HOD positions analysed across key departments of direction, cinematography, editing, writing, and production design, were held by women. Streaming had a significant contribution to this, with both streaming films and series having over 20% of HOD positions helmed by women. Editing took the lead amongst departments with over 18% of films and movies, mostly on streaming, having female editors.

Marketing – Women still have only 29% talk time in trailers. Though it has increased in the past two years, growth remains marginal, with streaming films showcasing the highest propensity to allocate more talk time to women in promotional trailers. Of the titles analysed, Made in Heaven Season 2 (Hindi), Boo (Telugu), Jhimma 2 (Marathi), Taali (Hindi), Rainbow Rishta (Hindi), Wedding.con (Hindi), Sweet Kaaram Coffee (Tamil), Saas Bahu Aur Flamingo (Hindi), and Jaane Jaan (Hindi) were some of the films and series to feature high in the list.

Corporate Talent – Among the 144 Director/CXO positions analysed across 25 leading M&E firms in India, only 12% were held by women, a slight decline over the last year

“At Prime Video, we firmly believe that Diversity, Equity, and Inclusion (DEI) is not just good to have- it is essential to driving meaningful change. We have worked intentionally and persistently to build a diverse, inclusive, and equitable ecosystem, creating more opportunities for women, both in production and within our organisation. In a collaborative industry such as ours, the true impact of DEI can only be realized when it is embraced across the board, with each of us committing to fostering an environment where women are seen, heard, and truly valued,” Stuti Ramachandra, Director and Head of Production, International Originals, Prime Video, India, said.

“O Womaniya! exemplifies the power of collaboration in addressing female representation in the industry. This latest edition of the report calls on all of us to accelerate these transformative efforts—not merely taking small steps, but making bold strides toward a world where opportunities and growth are defined by capability and talent, not gender,” she added.

Sharing his thoughts on the latest findings in O Womaniya! Shailesh Kapoor, Founder and CEO, Ormax Media, said, “With every edition of O Womaniya!, we have looked at expanding the scope of the report. In this year’s edition, the introduction of the Gender Equality Toolkit offers a nuanced perspective on representation of women in entertainment. The toolkit is designed to be action-oriented, and can help creators and producers evaluate new ideas at their end, from an inclusivity perspective.”

Speaking about the report, Anupama Chopra, Film Critic and Producer said, “The entertainment industry is under greater scrutiny than ever before. With every step forward and every gap left uncovered, stakeholders are reflecting on how they can drive meaningful change. Every action and conversation around gender inclusivity matters and with the O Womaniya! Report and the newly launched Toolkit, we are moving closer to creating an equitable industry. I am deeply grateful to Prime Video and Ormax Media for their partnership in this groundbreaking initiative.”

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Every marketer talks about building awareness, few have to build it without talking about the product. India's alcobev industry has spent decades navigating that paradox. Direct product advertising isn't permitted, making surrogate advertising only one part of the marketing equation. The bigger challenge has always been earning something no media budget can buy: consumers who become advocates for the brand. For Debasree Dasgupta, Chief Marketing Officer, Pernod Ricard India, that's the category's biggest truth. “Consumers will always be your biggest advertisers,” she said. It's a philosophy born out of necessity. But it has also shaped how alcobev brands think about marketing itself. “The principles of marketing are the same whether it's personal care, beauty or alcobev. What changes is the complexity.” That complexity, according to Dasgupta, isn't just about navigating regulations. It's about understanding consumers, managing a diverse portfolio, and ensuring brands continue to grow despite having fewer traditional marketing levers than almost any other consumer category. India remains one of the world's most tightly regulated alcohol markets, where brands have to navigate different state regulations, on-trade and off-trade ecosystems, and restrictions on advertising products directly. For marketers, that has meant learning an entirely different language of brand building. Marketing hasn't changed, The rulebook has Dasgupta's own career has prepared her for exactly that. Rather than following a straight path, she has moved across FMCG, health and hygiene, beverages and now alcobev, picking up different lessons along the way. “I think the beauty is that I didn't have a linear career path, and I think it was very deliberate and intentional.” Each company, she said, has added a different layer to her understanding of marketing. “Unilever taught me to be extremely consumer-centric and always keep the consumer at the heart. Reckitt taught me commercial discipline, that marketing needs to lead to commercial and business growth. PepsiCo was about how brands stay relevant in culture.” Bringing those experiences together at Pernod Ricard has reinforced one belief. “The principles of marketing remain the same.” The environment, however, certainly doesn't. While referring to India as one of the markets where alcohol advertising is prohibited, she said, “The regulatory landscape is quite complex. That's the piece that one needs to wrap their minds around as you navigate and ensure that you're able to drive business growth.” That complexity extends well beyond regulation. “At a portfolio level, it's important for us to understand what is delivering the present and what will deliver tomorrow,” she said. “Where is growth coming from today, and where will growth come from in the future?” When consumers become the media channel Perhaps the biggest difference between alcobev and traditional consumer goods lies in how brands create awareness. Unlike an FMCG company, Pernod Ricard cannot advertise its alcohol products directly. “So the disadvantage that we have versus CPG is we cannot advertise products,” Dasgupta said. “We are in compliance with the guidelines that exist today.” Instead, the company builds visibility through compliant brand extensions such as packaged drinking water, while investing in passion points like cricket, music and digital platforms. “For us, the brand extension is a compliant business in itself and we can advertise that. We continue to double down on social, digital and influencer marketing for those businesses.” Furthermore, Dasgupta went on to say, “What we rely on is on-premise advocacy. We rely on sampling. We ensure that our liquids are extremely high quality so that when the moment of truth happens, consumers really love the product.” That has also meant new launches take longer to build. “Awareness build-up is much slower because consumers discover the product at the point of sale. That's very different from an FMCG brand.” Which naturally raises another question: if brands can't advertise products, who does the selling? “The consumers will always be your biggest advertisers,” Dasgupta said. “If you walk into an outlet and see someone drinking, it gives you confidence in the brand.” Word of mouth, she believes, becomes one of the category's most powerful marketing channels. “In a category where you can't advertise the product, consumers become your champions.” That consumer-first philosophy also shapes how global brands are adapted for India. For marketers outside the alcobev industry, the constraints may seem daunting. For Dasgupta, they've simply reinforced a timeless lesson. When the product can't do the talking, the brand, and ultimately the consumer, has to.

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