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Category: Movies

  • MovieVerse Studios and Beacon Media partner to put Global South storytelling on the world stage

    MovieVerse Studios and Beacon Media partner to put Global South storytelling on the world stage

    MUMBAI: MovieVerse Studios, the mainstream content arm of IN10 Media Network, has struck a global alliance with Beacon Media to amplify voices from the Global South. The partnership seeks to create a borderless content ecosystem spanning Hollywood, India, the Middle East, Africa and Latin America—reaching more than three billion viewers.

    In10 Media Network managing director Aditya Pittie called the tie-up a “meaningful collaboration” blending creativity, technology and scale. Manoj Narender Madnani, chairman of Beacon Media, framed it as “1+1=11 in action,” a shift from competition to collaboration backed by Indian industrialist Anand Mahindra and Pittie.

    The alliance will roll out a slate spanning feature films, premium series and micro-series designed for digital-first platforms such as Instagram Reels, TikTok and YouTube Shorts. Vivek Krishnani, chief executive of MovieVerse Studios, said the Global South was “home to some of the most dynamic and culturally rich stories waiting to be told”.

    Tapping into the deep cultural and financial ties between India, Saudi Arabia and the UAE, the partnership will kick off with a Malayalam-language feature film and a slate of new movies. It will also adapt bestselling fiction by Dr Deepak Chopra for global screens, while investing in micro-series aimed squarely at next-generation audiences.

    Beacon Media has appointed Manini Priyan, an author and screenwriter with cross-market credentials, as head of content. It is also allied with veteran Arab drama executive Fadi Ismail to deliver Arabic programming for digital-first audiences.

    With Hollywood in flux and demand for diverse stories peaking, the venture positions itself as a bridge between emerging regions and global distribution. As Madnani put it: “This is not just about content. It’s about reshaping the global entertainment landscape.”

  • MovieVerse Studios and Beacon Media forge new alliance

    MovieVerse Studios and Beacon Media forge new alliance

    MUMBAI: MovieVerse Studios, the mainstream content arm of IN10 Media Network, has partnered with Beacon Media to launch a first-of-its-kind global content alliance aimed at amplifying narratives from the Global South. Targeting over 3 billion viewers, this collaboration is designed to connect emerging cultural powerhouses—spanning Hollywood, India, the Middle East, Africa, and Latin America—through borderless storytelling.

    IN10 Media Network managing director, Aditya Pittie said, “In today’s connected world, the future of storytelling depends on meaningful collaborations that bring together creativity, technology, and reach. This partnership encourages the industry to work more closely, fostering a diverse and inclusive content ecosystem that resonates with global audiences,”.

    “We are entering an era where collaboration, not competition, is the key to success,” said Beacon Media chairman Manoj Narender Madnani. “This alliance is not just about creating content—it’s about reshaping the global entertainment landscape, ensuring that diverse stories reach audiences across all formats and are made accessible worldwide. It’s 1+1=11 in action—where strategic partnerships, such as this one with IN10 Media, backed by visionary entrepreneurs like Aditya Pittie and Anand Mahindra, multiply impact.”

    The partnership will develop feature films, premium series, and bite-sized micro-series for platforms such as Instagram Reels, TikTok, and YouTube Shorts. The alliance’s first slate includes a Malayalam-language feature film for global release, adaptations of Dr Deepak Chopra’s bestselling fiction, and a range of digital-first projects built for next-generation audiences.

    MovieVerse Studios CEO Vivek Krishnani said, ‘’The Global South is home to some of the most dynamic and culturally rich stories waiting to be told. With this partnership, we are ensuring these culturally rooted narratives reach the global stage in the most impactful way possible. We are excited to develop content that resonates across geographies and platforms, whether it is through compelling cinematic storytelling or strategic digital-first initiatives.”

    With Saudi Arabia and the UAE emerging as major investors in India’s entertainment and technology sectors, the partnership aims to deepen economic and creative collaboration between the regions.

    To lead its ambitious slate, Beacon Media has named author and screenwriter Manini Priyan as head of content. The company also has a production alliance with Fadi Ismail, former director of drama at MBC Group, to create Arabic-language digital content at scale.

  • Cinema: Getting the business model, right?

    Cinema: Getting the business model, right?

    MUMBAI: Mumbai’s cinema moguls gathered at the 9th Edition of The Content Hub Summit 2025, the industry attempted to hit “rewind” on declining traditional media consumption and combat digital fatigue.

    Chaired by acclaimed film critic, journalist & author Mayank Shekhar, the panel boasted a stellar cast of industry heavyweights, including Abhishek Pathak, managing director, Panorama Studios; Aashish Singh, producer, Red Chillies Entertainment; Shailesh Kapoor, CEO, Ormax Media; Devendra Deshpande, CEO, Friday Filmworks; and Pragati Deshmukh, head of content, Zee Studios.

    Ormax Media’s Shailesh Kapoor, often the industry’s truth-sayer, kicked off with a candid confession: “Nobody knows for sure.” Yet, his numbers paint a clear picture. Despite the seismic shifts, the core metrics total box office, total footfall, and the number of unique theatre-goers (a consistent 15 crore annually) remain stubbornly unchanged since 2013-14.

    Kapoor pointed out that the pandemic’s real plot twist was its coincidental overlap with the streaming boom. “If the pandemic had happened in 2015, this wouldn’t even be a discussion,” he quipped. The lockdown fast-tracked the audience’s discernment between “OTT films” and “theatrical films,” a process that would have otherwise taken years. While star power might dim on OTT, it still shines bright in cinemas, and language barriers are slowly, but surely, dissolving. “Fundamentally, nothing really has changed,” Kapoor concluded, suggesting that content choices, rather than audience habits, are the evolving variables.

    Devendra Deshpande of Friday Filmworks, a science fiction writer in the realm of film production, firmly believes in leading with the narrative. “You start with the story because you believe in that story,” he asserted, dismissing hindsight analysis in a business where a film’s journey from conception to screen takes at least two years.

    The panel then tackled the curious case of remakes. While Abhishek Pathak’s Drishyam 2 was a massive hit despite the Malayalam original being widely available on OTT, Vikram Vedha (a remake of a Tamil hit) stumbled. Pathak, who directed Drishyam 2, revealed his unwavering confidence: “I always had a feeling that it would do a 150 crore number, this film will surprise the audience.” His logic was that audiences are smarter than we give them credit for, and a strong brand, like Drishyam, transcends language and prior viewing. “People come to the theatre, they give us a formula,” he declared, suggesting that the “mystery to the presentation” and local flavour are key ingredients for a successful remake.

    Red Chillies Entertainment’s Aashish Singh weighed in on Jawan’s phenomenal success, attributing it to meticulous planning. The film, directed by a renowned South Indian filmmaker, was conceived as a pan-Indian spectacle from the get-go. With Shah Rukh Khan’s unparalleled star power and a clever blend of North and South Indian talent, Jawan struck a chord across all tiers of Indian audiences. “It’s not about North and South, honestly. But, yes, we have to be conscious about our audience and what they like across the board,” Singh elaborated, highlighting the importance of tailoring content for a diverse national palate.

    Pragati Deshmukh of Zee Studios echoed the sentiment, emphasising that for studios, the story’s relevance for the next few years, irrespective of language, is paramount. She revealed that Zee Studios is actively seeking out stories that would travel across languages, indicating a strategic shift towards pan-Indian narratives. The success of films like Gadar 2, which evoked sheer emotion across linguistic divides, underscores this trend.

    The conversation then shifted to the nitty-gritty of film finance. Shailesh Kapoor noted the rise of re-releases, a desperate measure by exhibitors to fill empty screens as fewer films are being made. He revealed a staggering 60 per cent drop in the number of films releasing per year, from 45 to a mere 33-34. This “crisis of confidence” is pushing studios to greenlight only certain genres, primarily action. Re-releases, he believes, are a temporary fix and will fade once the release calendar becomes busy again.

    Pragati Deshmukh offered insights into the studio’s risk-mitigation strategies. Beyond big-budget spectacles, studios are exploring innovative models for smaller films. She cited examples like securing partnerships with brands or even shooting two films simultaneously to offset costs. The perennial strength of sequels and franchises remains a constant in a volatile market.

    Lastly, the discussion also touched upon the vexing issue of ticket pricing. While audiences are still willing to visit cinemas, the average ticket price of Rs 99-100 for new releases, making a night out prohibitively expensive for many, remains a significant hurdle. In contrast, re-releases often come at a much more palatable Rs 75-80.

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  • Capping ticket prices could be the blockbuster move India needs

    Capping ticket prices could be the blockbuster move India needs

    MUMBAI: Lights, camera… exit? For many Indian cinemagoers, that’s the current script thanks to ticket prices that have crept from “reasonable” to “ridiculous.” With average Hindi movie tickets hovering around Rs 203, a family outing to the movies now rivals a restaurant bill. It’s no surprise then that India’s total cinema footfalls in 2023 dropped to 88.3 crore, down six per cent year-on-year despite record-breaking hits.

    Now compare that to states that have capped ticket prices. In Karnataka, a Rs 200 ceiling (inclusive of taxes) has been formally introduced across all formats, aiming to widen access and stabilise footfalls. Tamil Nadu continues to enforce an effective price limit of Rs 150 (excluding GST), especially for regional films. Andhra Pradesh has a structured pricing framework where regular seats are capped at Rs 177 and recliners at Rs 295, with special government permissions needed for hikes. Meanwhile, Telangana sets Rs 295 as the multiplex cap, but with a softer hand that allows occasional hikes.

    These capped states, many of which are strongholds for south Indian cinema actually offer a crucial insight. Despite lower average ticket prices (ATP- as low as Rs 94–Rs106 for Telugu and Tamil films), these industries continue to deliver some of India’s highest-grossing films. Pushpa, RRR, and Leo weren’t powered by premium pricing they were powered by massive turnout. Volume over margin, and accessibility over exclusivity, has been the winning formula.

    Now contrast that with the Hindi film industry’s ATP of Rs 203. While Bollywood does see big openings, the high price point restricts repeat viewing and deters casual audiences. When a movie ticket costs nearly as much as a one-month OTT subscription, families weigh their choices and increasingly choose the sofa.

    A nationwide cap  of Rs 150 for regular seats, Rs 200 for premium, across all languages wouldn’t just level the playing field, it could dramatically boost footfalls for Hindi films, which continue to rely heavily on urban, multiplex markets. Lowering the barrier to entry could reopen the gates to India’s vast middle-class audience. Let’s not forget: a single Rs 100 ticket sold to 1,000 people earns more than a Rs 300 ticket sold to 200.

    Even with a cap on ticket prices, theatres and multiplexes can continue to thrive by shifting focus from high-margin tickets to high-volume footfalls and diversified revenue streams. More affordable prices draw in larger crowds, especially families and repeat viewers, creating consistent occupancy rates across weekdays and not just weekends. Multiplexes can optimise profits through premium experiences charging modest surcharges for IMAX, recliner seats, or 4DX formats while also driving revenue through food and beverage sales, branded partnerships, and on-screen advertising.

    Additionally, bundled offers, loyalty programmes, and dynamic pricing during off-peak hours can further boost margins. With lower pricing unlocking access to wider audiences, the overall revenue pie can grow not shrink by getting more bums in more seats, more often.

    An excellent case in point is Saiyaara, the breakout romantic drama that is shattering expectations at the box office not by charging more, but by charging smart. Yash Raj Films rolled out discounted pricing strategies from day one, offering Buy 1 Get 1 free deals, Rs 99 weekday tickets, and up to 50 per cent off on early bookings, particularly targeting youth and family audiences. Far from cannibalising revenue, this pricing hack did the opposite Saiyaara earned over Rs 105 crore in just four days, with weekday occupancy soaring to 80 per cent in some centres, a rare feat for non-franchise films.

    The promotional pricing widened the film’s reach beyond urban cinephiles to first-time and return viewers alike. It proved that lower prices didn’t shrink earnings, they supercharged them. Instead of relying on premium ticket margins, Saiyaara leaned on volume, accessibility, and buzz making a powerful case for why affordable cinema might just be the industry’s best blockbuster strategy.

    Hindi films once thrived in single screens packed with cheering crowds. But rising costs and shifting consumption habits have turned cinema into a weekend indulgence rather than a weekly ritual. Reintroducing affordability could revive that mass magic, bringing back the audiences who made the movies matter.

    The numbers don’t lie: when tickets are cheaper, people come in droves. And that’s a happy ending the Indian film industry desperately needs.

  • India’s box office collects Rs 5723 crore in blockbuster first half of 2025

    India’s box office collects Rs 5723 crore in blockbuster first half of 2025

    MUMBAI: India’s cinemas have found their groove and the numbers are singing. The first half of 2025 has grossed Rs 5,723 crore at the domestic box office, marking a 14 per cent jump over the same period last year, according to the newly released India Box Office Report by Ormax Media. That puts it just Rs 12 crore short of the 2022 January–June record, signalling a cinema resurgence powered not by a few blockbusters, but a wide net of Rs 100 crore-plus earners.

    A total of 17 films crossed the Rs 100 crore threshold in the January–June window up from just 10 in the first half of 2024. Topping the charts by a wide margin was Chhaava, clocking in at a whopping Rs 693 crore, followed by the Telugu release Sankranthiki Vasthunam. Notably, only one film breached the ₹250 crore mark in this period, suggesting a shift from reliance on tentpole spectacles to consistent mid-sized performers.

    June wrapped up on a strong note, with monthly grosses topping ₹900 crore, thanks to titles like Sitaare Zameen Par and Housefull 5, both touching the ₹200 crore mark. Tamil-Telugu title Kuberaa and Hollywood’s F1: The Movie also revved up the box office engines.

    Hindi cinema continues to rule with 40 per cent of the total gross, mirroring its 2024 share. Telugu and Tamil films followed with 20 per cent and 15 per cent, respectively. In a welcome plot twist, Hollywood returned to double digits, breaching the 10 per cent mark for the first time since 2022.

    If the current pattern holds, 2025 is poised to close at Rs 13,500 crore, making it potentially the biggest box office year in Indian history. This hinges, of course, on the performance of the star-studded second half, which includes biggies like Kantara: Chapter 1, Avatar: Fire and Ash, War 2, Coolie, Akhanda 2, Thama, and OG.

    What’s especially noteworthy is the spread of success, this year is less about outlier mega-hits and more about a healthy, steady churn of solid performers. This could signal a structural rebound for Indian exhibition circuits, driven by a slate-first strategy instead of pinning hopes on a few blockbusters.

    Whether you’re team multiplex or mass single-screen, 2025’s box office is scripting a hit—and there’s plenty more showtime left.

  • India’s creative future gets a cinematic campus

    India’s creative future gets a cinematic campus

    MUMBAI: Mumbai just got its own Hogwarts for creative tech. Union I&B minister Ashwini Vaishnaw and Maharashtra chief minister Devendra Fadnavis rolled out the red carpet today for the Indian Institute of Creative Technologies (IICT), a new-age media and entertainment education hub set inside the iconic NFDC Films Division Complex on Pedder Road.

    Joined by Sanjay Jaju, secretary, Ministry of Information & Broadcasting, and Maharashtra’s cultural affairs minister Ashish Shelar, the top brass didn’t just cut a ribbon, they launched a vision. The duo unveiled IICT’s official logo and announced that the institute’s first academic batch will kick off from September 2025. Built with global standards in mind, the spanking new campus is loaded with future-forward infrastructure: think high-spec media labs, post-production suites, XR zones, and full-throttle animation and VFX bays.

    Speaking at the inauguration, Vaishnaw said, “In this creative world, technology has become an integral part and it is important that we empower people who want to be part of the creator economy. I am glad that in such a short span we have inaugurated the first NFDC IICT campus in Mumbai. I have personally gone through the architectural presentations in detail for the campus in Film city, Goregaon, and I assure you it is going to be one of the finest campuses.”

    The inaugural batch will admit 300 students, with the promise of a second campus already in the works at Filmcity, Goregaon — expected to open within the next two years.

    Shri Devendra Fadnavis added, “This is not just an event; it is a moment — a moment that is now transforming into a movement. As part of this movement and its legacy, the announcement of IICT was made, and the campus was inaugurated in a remarkably short time. In the coming years, under the excellent guidance of Ashwini Vaishnaw, IICT will emerge not only as an institution of world-class education but also as an architectural and cultural landmark that attracts people from across the globe. Just as WAVES revolutionised the entire creator economy, IICT stands as a testament to all that hard work.”

    India’s media-tech dreams have found their newest stage and the lights just came on.

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  • Hybe’s K-pop cine fest hits a high note with 320,000 fans across Asia

    Hybe’s K-pop cine fest hits a high note with 320,000 fans across Asia

    MUMBAI : Hybe turned the volume up to 11 with its Asia edition of Hybe Cine Fest, drawing over 320,000 fans into more than 370 cinemas across 10 regions from July 10 to 13. Backed by Weverse and in partnership with Trafalgar Releasing, the four-day extravaganza turned multiplexes into mosh pits, K-pop style.

    The lineup? A mic-drop of Hybe’s biggest acts: concert films of BTS, Seventeen, Tomorrow X Together, and Enhypen brought screaming fans back to the front row. The main event? #Runseokjin_Ep.Tour featuring BTS’ Jin was livestreamed from Japan on July 12, sending armies into a euphoric meltdown.

    But this was no regular cinema crawl. With Hybe Cinema Noraebang turning theatres into full-blown karaoke sessions, fans belted out 22 iconic tracks from 10 Hybe artists, all while waving lightsticks and dancing in the aisles. Adding to the chaos and charm were selfie booths, dance challenges, and walls where fans left notes for their idols.

    First rolled out in Latin America, the cine fest’s Asian sequel played in Korea, Taiwan, Malaysia, Singapore, India, Indonesia, Thailand, the Philippines, and Hong Kong. Japan is next on the bill, with encore screenings planned in Indonesia and Hong Kong to keep up with fan frenzy.

    For Hybe, it’s not just content, it’s a K-pop carnival on the big screen.

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  • FIFA Club World Cup live at PVR Inox

    FIFA Club World Cup live at PVR Inox

    MUMBAI: PVR Inox is set to deliver one of the most anticipated global sporting events of the year to Indian audiences with its upcoming in-cinema screening of the FIFA Club World Cup Final 2025, in an exclusive partnership with DAZN, the official global broadcaster of the tournament.

    The thrilling finale is scheduled to go live at 12:30 AM IST on July 14, 2025, and will be screened across select PVR INOX cinemas in key cities, subject to state-level permissions currently being initiated. The event promises a high-voltage football experience like no other—bringing the global fever of the Club World Cup into the heart of India’s cinemas.

    Taking the live viewing experience several notches higher, the FIFA Club World Cup Final will feature an extravagant halftime show produced by Global Citizen, starring global music sensations Doja Cat, J Balvin, and Tems. The combination of electrifying sport and power-packed performances will turn cinemas into cultural arenas, uniting football fans and music lovers alike.

    “The FIFA Club World Cup Final 2025 is a powerful addition to our growing portfolio of alternate content offerings at PVR INOX. As cinemas evolve into multi-purpose entertainment venues, we are committed to curating experiences that go beyond movies, bringing live sports, music, and cultural events to the big screen. Events like these redefine what it means to go to the movies and allow us to build deeper, more dynamic engagement with our audiences. We’re proud to partner with DAZN to make this global moment accessible to fans across India in an immersive, community-driven format” said PVR Inox Ltd chief business planning and strategy officer, Kamal Gianchandani.

    With its cutting-edge projection systems, Dolby surround sound, ultra-wide screens, and plush recliner seating, PVR Inox will offer fans an immersive and energetic stadium-style atmosphere—without leaving the city.

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  • Ad Guru Turns Reel Hero with Mythical Thriller for the Masses

    Ad Guru Turns Reel Hero with Mythical Thriller for the Masses

    MUMBAI: From 30-second ad epics to full-length cinematic spectacle Prasoon Pandey is finally making the leap, and it’s nothing short of mythic. Prasoon Pandey, one of the most celebrated names in Indian advertising, is stepping behind the camera for his feature film debut, a massy, contemporary mythological thriller backed by Movieverse Studios and Ellipsis Entertainment. Known globally for his award-winning commercials, Pandey now swaps storyboards for the silver screen, bringing with him decades of visual flair and narrative punch.

    Written by Vaibhav Vishal, the yet-untitled film blends cultural depth with modern storytelling, and promises to push genre boundaries with its unique tone and scale.

    “This isn’t just a directorial debut, it’s a long-overdue cinematic event,” said Movieverse owner IN10 Media Network MD Aditya Pittie. “We’ve waited for a story that matched Prasoon’s legendary vision. This one had him hooked and us too.”

    Pandey, who has 17 Cannes Lions, Clio, and D&AD awards to his credit, is the first Asian to feature on Campaign Magazine’s 100 most influential advertising filmmakers list. “I wasn’t going to do a film just for the sake of it. This script hit differently,” he said. “It stayed with me, long after I’d read it. That’s when I knew this is the one.”

    Movieverse Studios CEO Vivek Krishnani echoed the excitement: “We’re committed to cinematic storytelling that stirs the soul and stuns the eye. With Prasoon and Ellipsis on board, this film promises both.”

    The film also marks another milestone for Ellipsis Entertainment, whose partners Tanuj Garg and Atul Kasbekar have a knack for scouting offbeat-yet-relatable stories. “Prasoon’s been a friend and a creative icon. It took us years and many scripts but we’re thrilled this is the one that finally got a yes,” said Kasbekar.

    Comparisons with ad-filmmaker-turned-directors like Ram Madhvani and Suresh Triveni are inevitable, but Pandey’s visual grammar and storytelling signature remain in a league of their own.

    Casting is currently underway, and the makers promise a stellar ensemble to match the story’s ambitious canvas.

    For now, one thing is certain: when an ad legend like Prasoon Pandey steps into the world of cinema, the lines between art, mass appeal, and mythology are about to blur in the best possible way.

  • Rajhans Cinemas rolls out the red carpet for Surat’s real stars

    Rajhans Cinemas rolls out the red carpet for Surat’s real stars

    MUMBAI: Rajhans Cinemas swapped blockbusters for big hearts this week, hosting a special screening of Sitare Zameen Par exclusively for specially-abled children across Surat. The event, held at Rajhans Cinemas Vesu and Katargam, welcomed bright young viewers from Anand Special School for Education and Training and Deep Special Educational Trust, turning an ordinary day into one packed with popcorn, purpose, and plenty of smiles.

    As part of the brand’s commitment to “happiness beyond the screen”, Rajhans pulled out all the stops—right from accessible seating to an army of volunteers ensuring comfort and care for every child. The atmosphere was electric, brimming with laughter, wide-eyed wonder, and a few happy tears from parents and caregivers alike.

    Speaking on the occasion, Rajhans Cinemas chairman Jayesh Desai said, “We believe cinema has the power to unite, heal, and inspire. This special screening is a small step toward creating inclusive experiences that bring smiles and joy to every heart.”

    For Rajhans Cinemas, the initiative signals more than corporate social responsibility—it’s a reaffirmation of their ethos: entertainment for all, empathy at the core.

    And in a world of superheroes and stardust, it was clear who the real stars were that day.