Producer and global film strategist Gayathiri Guliani speaks to Vinta Nanda about Indian cinema’s international growth, the success of 3 Idiots in China, global distribution strategies, OTT platforms, AI storytelling, gender bias in entertainment boardrooms, and the future of international co-productions.  

The interview explores her work with Reliance, Sony, Lionsgate and Kleos Entertainment Group while examining how Indian films are increasingly reaching global audiences through innovative storytelling and strategic market expansion.

In the ever-shifting landscape of Indian cinema, where creativity often wrestles with commerce and visibility determines survival, few professionals have reshaped the business of storytelling as quietly yet powerfully as Gayathiri Guliani. From pioneering international syndication and distribution strategies to helping Indian films enter untapped markets like China, Taiwan, Morocco and even Congo, Gayathiri has spent nearly three decades pushing Indian cinema beyond familiar borders.

In these excerpts from a deeply engaging conversation with Vinta Nanda, Gayathiri reflects on her journey through broadcasting, global distribution, OTT, international co-productions, AI-driven storytelling, and the changing dynamics between creativity and commerce. She also opens up about gender bias in corporate boardrooms, the strategy behind 3 Idiots becoming a phenomenon in China, and why storytelling must always remain at the heart of cinema.  

Vinta Nanda: You have such a diverse set of accomplishments across film production, marketing, sales and distribution. Tell us about your journey and how it all began.

Gayathiri Guliani: I come from a very strange mix of art and commerce. My parents met in the Ministry of Broadcasting when both of them were actors in the cultural division, before television even existed. Theatre and live plays were the only forms of entertainment then. My father was from the South and my mother from the North.

My grandfather, Danaal Tangavelu, was a legendary comedian in South Indian cinema during the 1960s and 70s. He worked alongside MGR Sir, who later became Chief Minister. At the same time, another side of my family was deeply rooted in banking and the Reserve Bank of India.

I grew up listening to stories from my grandmother and became fascinated by storytelling itself. I would wonder who the people behind the television screen were. That curiosity sparked everything.

Inside the Early Days of Indian Broadcasting and Syndication

Vinta Nanda: So you learnt while the industry itself was learning?

Gayathiri Guliani: Absolutely. I started with Star Broadcasting and worked extensively on distribution, channel launches and syndication. At that point, international business contributed barely 2% to the overall industry revenues. Today, overseas revenues contribute more than 50% for many films.  

At Plus Channel, Amit Khanna was one of my greatest mentors. He would suddenly tell me, “From tomorrow you’re handling this show.” I would panic because I knew nothing, but those experiences made us strong. You learnt on the job.

Later, during Channel V’s launch, I was managing nearly 26 shows simultaneously. That phase taught me content research, strategy and how important it is to project creativity correctly to the world.

“Creativity is important. But if it is not presented properly to the world, it has no meaning.”

Vinta Nanda: Tell me about the 3 Idiots experience. People rarely know what happens behind the scenes of global success stories.

Gayathiri Guliani: That project remains a case study for me. After the original release of 3 Idiots in 2009, I was given the responsibility by Vidhu Vinod Chopra and Reliance Entertainment to lead its international expansion.  

Instead of directly entering China, I first released the film in Taiwan with only four screens. It earned nearly half a million dollars. Then it went to Hong Kong, where it ran for 27 weeks. South Korea followed with 230 screens. By then, China had become extremely curious about the film.

The whole strategy was about creating demand and noise before entering the biggest market.  When we finally released it in China in 2011 on 900 screens, it became a historic moment because Indian films had never seen that kind of reception there before.  

How Film Libraries and Old Content Became Gold Mines

Vinta Nanda: You also transformed unused film libraries into revenue opportunities.

Gayathiri Guliani: Yes. During my time with Sahara, I realised there was so much unused content just lying there. I created deals where Sahara’s library was sold to Star TV. That whole system of first-window and second-window economics was designed strategically.

We monetised content that had been gathering dust for years.

I also cracked a major China deal for Karishma Kaa Karishma. It took me eight months to negotiate because of dubbing and localisation challenges, but eventually it succeeded.  

Gender Bias in Film Industry Boardrooms

Vinta Nanda: You’re glamorous, articulate and powerful. Did people underestimate you because of that?

Gayathiri Guliani: All the time. Especially 10–15 years ago in business boardrooms. When distributors or stakeholders met me for the first time, there was always this underlying judgment — “Is she just a pretty face?”  

So I learnt to respond first with humour and then with knowledge. Once you start discussing facts, percentages, market realities and tax systems, people realise you know your work. “The first 15 minutes people will look at you. But after 15 minutes, you better know what you’re talking about.”

And eventually, you have to deliver results. That’s what matters most.

Vinta Nanda: Today strategy often dictates content instead of content driving strategy. What are your thoughts on that?

Gayathiri Guliani: Creativity is subjective. But I strongly believe storytelling must come first. The creator’s voice matters most. The story decides how it should be monetised and where it should travel.  

A lot of failures happen when people reverse this process and begin creating projects purely based on market calculations. “I’m a firm believer of storytelling. It’s the story that matters.”

If a filmmaker has a particular style, you cannot suddenly force them into another framework just because market trends say so.

How International Co-Productions Are Changing Indian Cinema

Vinta Nanda: Where are you now creatively and professionally?

Gayathiri Guliani: I’m now fully focused on international co-productions and global IP creation through my company, Kleos Entertainment Group.  

For almost ten years, I believed India needed more co-productions because they open huge international markets while allowing cultural exchange. That led to Demon Hunters, an Indo-Taiwanese action comedy. It follows an Indian tech engineer and a Taiwanese YouTuber who discover their grandfathers once fought an ancient demon.

The film combines Indian mythology and Taoist traditions. We had to be culturally sensitive throughout because we didn’t want to misuse symbols or misrepresent traditions. The film has already released in Taiwan and is now expanding globally through OTT and international distribution.

AI, Climate Change and the Future of Cinema

Vinta Nanda: You’re also working on a documentary about water and climate change.

Gayathiri Guliani: Yes, the project is called Every Living Thing. It focuses on the global water crisis and environmental sustainability.  

We’ve filmed across Africa, Bangladesh, Japan and several other countries. AI is being used strategically — not to replace storytelling but to visualise certain dystopian possibilities. The trailer has already been selected at the AI Film Awards 2026, and Kabir Bedi has agreed to narrate it.  

Why Transmedia Storytelling Is the Future

Vinta Nanda: You also seem deeply invested in creating multimedia IPs.

Gayathiri Guliani: Absolutely. Today a story cannot exist in just one format. We are creating what I call “multimodal IPs.”

For example, Vault-Tex is a biotech espionage story involving cloning and DNA hacking. We created it as a proof-of-concept pilot, a micro-drama series and eventually it can also become a game.  

“The whole idea is to put it out there in whichever format gives exposure and revenue.” That is where global entertainment is heading.

 

Why Independent Cinema Still Matters

Vinta Nanda: How do you see independent cinema surviving against large-scale commercial systems?

Gayathiri Guliani: Independent filmmaking is pure passion. Whether it’s a massive studio project or a small indie film, cinema cannot exist without belief and commitment.  

I respect independent filmmakers because it takes enormous courage to create films with limited resources. Festivals are now playing a huge role in propelling new talent and giving visibility to important stories.