BIFFes 2026: Experts discuss growing momentum of vertical filmmaking

A panel discussion at the Bengaluru International Film Festival (BIFFES) explored vertical filmmaking as an emerging narrative form, underlining its growing significance in India’s rapidly evolving digital content landscape.

Moderated by journalist Sunayana Suresh, the session featured actor-filmmaker Rajshri Ponnapa, cinematographer Manohar Joshi, content professional Lovenith S. Ramapure, and creator Varsha.

Vertical filmmaking refers to content produced in a 9:16 aspect ratio, tailored primarily for mobile consumption. Though still nascent in India, panellists noted that the format has witnessed swift adoption, mirroring a decisive shift towards phone-first viewing habits.

Drawing global comparisons, the speakers pointed to China, where micro-drama series have already developed into a robust ecosystem. India, they said, appears to be moving along a similar trajectory. Platforms such as Zee’s Bullet, launched about a year ago, were cited as early indicators of the industry’s growing interest in vertical storytelling.

Responding to questions on the future of micro-dramas in India, Ms. Varsha said the format holds considerable promise. “India is an early entrant in this space. Anyone can create content, and individual perspectives will become increasingly important,” she said, adding that the ecosystem is still evolving and deserves close attention from industry stakeholders.

Mr. Ramapure, drawing on his experience at Kuku FM, observed that vertical formats have significantly lowered entry barriers for creators. With over 25 platforms already in operation and several larger players expected to enter the space, he noted that consumption patterns resemble the dopamine-driven engagement seen on Instagram Reels and YouTube Shorts.

Demand for short format

The panel also examined how writers are adapting to the demands of short-format storytelling. Ms. Ponnapa said the transition has been challenging for those accustomed to long-form narratives. “If there is no emotional hook within the first 10 seconds, the audience moves on,” she said, pointing out that unlike traditional cinema, which allows narratives to unfold gradually, vertical content demands immediacy and speed.

Describing vertical filmmaking as a new narrative language, Ms. Ponnapa said stillness and restraint often communicate more effectively than overt dramatization. Recalling her experience creating Phool Sa Chara for the Bullet app, she emphasised the need for rapid execution, strong emotional beats, and a wider pool of adaptable writers.

From a technical perspective, cinematographer Mr. Joshi noted that while the fundamentals of filmmaking remain unchanged, the visual grammar continues to evolve. “There is no fixed frame in vertical filmmaking,” he said, highlighting the creative possibilities offered by experimentation with composition and angles.

Only change in medium

Addressing concerns that emerging formats may undermine cinema, the panellists dismissed the notion. Ms. Ponnapa reiterated that cinema remains unparalleled as an art form, while Mr. Joshi likened the shift to the transition from radio to pocket transistors- a change in medium rather than in storytelling itself.

Concluding the session, Ms. Varsha said adaptation was no longer optional. “If India moves aggressively, the mobile content market could be worth billions in the next five years. Those who fail to adapt risk being left behind,” she said.