ITV

Category: Movies

  • CCI recommends self-regulatory measures for the Indian film industry

    CCI recommends self-regulatory measures for the Indian film industry

    Mumbai: On Friday, the Competition Commission of India (CCI) released a report titled “Market Study on Film Distribution Chain in India: Key Findings and Observations,” which outlines a few of the most important competition-related problems identified by stakeholders in the industry.

    In doing so, the study discusses the role of various associations in the chain, whether it be at the production, distribution, or exhibition level; the imbalances caused by some entities’ stronger bargaining positions; the bottlenecks that exist at different levels; the unequal distribution of risks; revenue-sharing agreements; newer technologies in cinema; tying and bundling arrangements at the exhibition level; etc.

    The CCI appreciated the insights shared by various stakeholders into the various aspects of the film production, distribution and exhibition. The commission also expressed its sincere desire that, in the interests of everyone, the constituents will put an end to anti competitive behaviours, thus limiting regulatory interference.

    The commission has advised the film industry to develop specific self-regulatory measures for various stakeholder categories based on the study’s results and in accordance with its advocacy role. Self-regulation techniques include:

    Customised agreement for multiplexes and producers

    • Customised agreements should be chosen over generic contract templates.
    • Aggregate agreements may be favoured for revenue-sharing over current sliding scale agreements, which allow multiplexes and producers to split the total income made by a movie according to a previously agreed-upon percentage.
    • In exchange for promotions and a split in the cost of advertising, multiplexes might be willing to give producers fair and reasonable terms.
    • Multiplexes should steer clear of any trade limitations on display that would limit producers’ freedom of commerce.

    Reporting of box office revenue collections

    • Adoption of ticketing log and report generation, recording, and maintenance box office monitoring systems, and the information gathered by such a system should not be changeable by any stakeholder.
    • Producers should choose impartial auditors to examine these monitoring systems and confirm that they are functioning as intended and are not undergoing any tampering.

    Virtual Print Fee (VPF)

    • VPF payments made to multiplexes can be eliminated first. Given their reliance on the leasing arrangement for digital cinema equipment, single-screen VPF can be phased out more gradually than multi-screen.
    • Digital cinema equipment (DCE) providers and producers should negotiate mutually acceptable VPF prices and ensure that there are no disruptions in the display of films due to this until its sunset is decided upon and put into effect.

    Stakeholders association

    • Associations shall refrain from boycotts, prohibitions, and restrictions on business dealings with non-members. Associations should also refrain from any other actions that the commission has previously deemed to be anti-competitive.
    • In order to resolve any disputes between stakeholders, associations must take into account how alternative conflict resolution procedures like mediation might be institutionalised.
    • Associations are recommended to hold activities to inform their individual members of competition law knowledge and the ensuing necessity for compliance.

    Digital cinema

    • Digital service providers should allow for negotiations to lessen the imbalance of bargaining power in any agreements they make with exhibitors or producers, as the case may be. Long-term contracts with unfair clauses should also be avoided.
  • PVR gets shareholders approval for Inox merger

    PVR gets shareholders approval for Inox merger

    Mumbai: Multiplex operator PVR has received shareholders’ approval for its proposed merger with Inox Leisure. 99.9986 per cent voted in favour of the merger. It was defeated by a margin of 0.0014 per cent.

    Inox, in a filing, said that a meeting with equity shareholders took place. The company sought approval for the proposed merger. The results of the vote are expected to be announced in the coming days.

    The Inox said, “A meeting of the equity shareholders of the company was held on 12 October 2022 at 12 p.m. through video conferencing (VC)/other audio visual means (OA VM) as per the directions issued by the National Company Law Tribunal, Mumbai Bench, vide its order dated 22 August, 2022 and in compliance with the applicable provisions of the Companies Act, 2013 read with rules made thereunder, circular(s) issued by the ministry of corporate affairs and the Securities and Exchange Board of India, for transacting the business mentioned in the notice dated 10 September 2022 convening the said meeting (NCLT Convened Meeting). “

    In March, the two companies announced plans for a merger. Inox had said the merger would bring together two of India’s best cinema brands to deliver an unparalleled consumer experience with a network of more than 1,500 screens.

    Following the merger, Inox promoters will join the existing PVR promoters as co-promoters of the merged entity. According to the regulatory filing on 27, once the scheme is implemented, the board of directors of the merged company will be reconstituted with a total board strength of 10 members and equal representation on the board for both promoter families with two board seats each.

    The company will be called PVR Inox, with the branding of existing screens to continue as PVR and Inox, respectively. Ajay Bijli will be the managing director and Sanjeev Kumar Bijli will be the executive director. Pavan Kumar Jain will be the non-executive chairman of the board.

    Shareholders of Inox will get PVR shares in a pre-approved “swap” ratio of 3:10. Three equity shares of PVR can be swapped for 10 of Inox. Inox will have a 16.66 per cent stake and PVR will have a 10.62 per cent stake in PVR Inox.

  • HBO US to air documentary on Joe Biden’s first year as US President

    HBO US to air documentary on Joe Biden’s first year as US President

    Mumbai: In the recently released trailer, HBO announced a documentary, Year One: A Political Odyssey, which chronicles Biden’s first year as US president.

    The documentary is directed by Emmy-winning filmmaker John Maggio, executive produced by Pulitzer Prize-winning New York Times journalist David Sanger, and produced by Caroline Cannon and Caroline Pahl. HBO’s Nancy Abraham and Lisa Heller serve as executive producers, while Tina Nguyen is the senior producer. It is set to debut on 19 October on HBO and HBO Max.

    Bookended by Inauguration Day 2021 and the state of the union speech of March 2022, this is a front-seat account of the Biden administration’s tense first year, marked by security threats both at home and abroad. Assuming office only two weeks after the 6 January 2021 attack on the Capitol, Biden’s presidency entered the maelstrom of an ongoing global pandemic, renewed conflicts with Russia and China, and America’s international standing in decline.

    The documentary follows the US President’s inner circle, taking viewers inside the White House, the State Department, the CIA, and the Pentagon, while it dives deep into America’s response to a number of unfolding historical events: the effort to immunise a nation against an ever-morphing pandemic; continued divisiveness following 6 January; the withdrawal from Afghanistan; the rise of autocratic regimes across the globe; and increasingly adversarial relations with two nuclear superpowers: Russia and China. Russia’s invasion of Ukraine in February of 2022 became the crucible by which America’s fragile alliances were measured-and created new forms of nuclear menace. The documentary explores each developing situation with chronological immediacy and intimate, unprecedented access to Biden’s cabinet members, tracing history as it happens.

    It combines archival news footage with revealing insider interviews with key players from Biden’s cabinet, providing contemporaneous accounts of history in the making. Participants include secretary of state Antony Blinken; national security advisor Jake Sullivan; secretary of defence Lloyd Austin; CIA director William Burns; White House chief of staff Ron Klain; special presidential envoy for climate John Kerry; White House press secretary Jen Psaki; counsellor to the president Jeff Zeints; representatives Adam Schiff and Jim Jordan; senator Chris Coons; journalists; global ambassadors; and covid-19 advisors. David E. Sanger of The New York Times guides the interpretation of the fast-moving events in global politics.

  • Apple Original Films announces ‘The Gorge’ with Anya Taylor-Joy & Miles Teller

    Apple Original Films announces ‘The Gorge’ with Anya Taylor-Joy & Miles Teller

    Mumbai: Apple Original Films has announced Skydance’s new feature film, The Gorge, starring Anya Taylor-Joy and Miles Teller.

    This is a high-action, genre-bending love story directed by Scott Derrickson and based on a spec script by Zach Dean. In addition to starring, Teller will serve as an executive producer on the film. Skydance’s David Ellison, Dana Goldberg, and Don Granger are producing alongside Crooked Highway’s Scott Derrickson, C. Robert Cargill, and Sherryl Clark, as well as Zach Dean, Adam Kohlbrenner, and Greg Goodman.

    The Gorge hails from a first-look partnership with Apple and Skydance Media and will join feature films including The Greatest Beer Run Ever, from director Peter Farrelly, that stars Zac Efron, now streaming on Apple TV+; Ghosted, a high-concept romantic action adventure film starring Chris Evans and Ana de Armas, and directed by Dexter Fletcher; and The Family Plan. This is an action-comedy starring Mark Wahlberg.

    The film marks the latest collaboration for Skydance and Miles Teller, following his leading role in Top Gun: Maverick. Skydance and screenwriter Zach Dean also recently collaborated on The Tomorrow War.

  • Inox brings T20 Men’s World Cup 2022 in cinemas; inks deal with ICC

    Inox brings T20 Men’s World Cup 2022 in cinemas; inks deal with ICC

    Mumbai: Inox Leisure on Wednesday announced signing an agreement with the International Cricket Council (ICC) for live screening of ICC Men’s T20 World Cup 2022 matches on the cinema screens at its multiplexes across the country.

    The eighth edition of the ICC Men’s T20 World Cup commences on 16 October, with the super 12 stage kicking off on 22 October, and the final scheduled for 13 November in Melbourne.

    Inox will showcase all group matches to be played by Team India, starting with their first match on 23 October against Pakistan, followed by the semi-finals and the final match. The live matches will be screened across Inox multiplexes in more than 25 cities. Inox’s initiative of screening live matches will provide a supreme stadium-like experience in movie theatres. The comfort of the cinema hall in an air-conditioned environment will add to their overall cricket watching experience in the company of like-minded fans of the game of cricket. In addition, fans will be able to enjoy exciting food-combos and scrumptious gourmet options served at Inox cinemas while enjoying the matches.

    Commenting on the announcement, Inox Leisure chief operating officer Anand Vishal said, “By screening cricket in cinemas, we are bringing together the thrill of the giant screen experience and thunderous sound with the most loved sport in our country, and that is cricket. The excitement and emotions of the World Cup would add to this combination, resulting in a virtual treat for cricket lovers. We are grateful to the International Cricket Council for providing us with an opportunity yet again to offer an all-immersive cricket-viewing experience for the fans. We are prepared to welcome our guests and let them take their festive spirits to a new level with this cricket festival on the giant screen.”

  • IFFI invites media delegates to register for its 53rd edition

    IFFI invites media delegates to register for its 53rd edition

    Mumbai: The 53rd edition of the International Film Festival of India (IFFI), has invited media delegates to be a part of the festival. The festival, which will be held in Goa from 20 – 28 November will showcase contemporary and classic films from India and around the globe.

    At IFFI, the awaiting media delegates are filmmakers, actors, technicians, critics, academicians, not to mention fellow film enthusiasts. All of them will congregate in the tourist state of Goa to immerse themselves in an ocean of cinematic celebration and inspiration.

    IFFI said that it will celebrate the joy of cinema, the vibrant beauty of the stories these films tell, and the eclectic variety of the lives, aspirations, struggles and dreams of the filmmakers themselves. Partake in the celebration of films which happens in, on and off the screens. The festival will bring not only cinematic excellence from India and across the world, but also the opportunity to be inspired by an array of masterclasses, panel discussions, seminars and other conversations.

    Information and communication, IFFI added, has a central role in the success of the festival, in propagating film culture, in cultivating genuine love for the art, in helping people soak themselves in the breadth and depth of the human condition.

    One can be a media delegate if one has completed 21 years of age as on 1 January, 2022 and belongs to a print, electronic, or a digital / online media organisation. The link for registration is https://my.iffigoa.org/extranet/media/

  • “We expect cinema advertising to reach close to 80% of its pre-pandemic level”: PVR CEO Gautam Dutta

    “We expect cinema advertising to reach close to 80% of its pre-pandemic level”: PVR CEO Gautam Dutta

    Mumbai: While the fiscal second quarter June-September has been subdued due to the underperformance of Bollywood (apart from “Brahmastra”), multiplex operator PVR is counting on a much better performance during the festive season. It is planning a slew of initiatives to cash in on the season, which will see a return to normalcy in this period after a gap of two years.

    Speaking to Indiantelevision.com PVR CEO Gautam Dutta said, “With an objective to encash on the blockbuster releases during the festive period, PVR will be running many promotions from 10–31 October across its products and services. This would entail special offers on ticket booking, PVR e-gift cards, Diwali gift hampers, and ‘V Pristine’ by PVR for its loyalty base of 1.46 crore privilege members. These will be announced on the PVR social media handle and in our cinemas.”

    Talking about the growth in revenue that PVR expects during the festive season compared to the same period last year, he says that after a rousing start of FY23 with Q1 doing amazing numbers and breaking all-time records in the history of cinemas, Q2 has become subdued, marked by the underperformance of some movies. “We are extremely optimistic about the festive season ahead, as this will be the first time in two years that cinemas will be operating without restrictions. Substantiating these expectations is a big line-up of movies that would hit the theatres, and the rolling back of the usual eight-week theatrical window that has been reintroduced since 1 August.”  

    When asked about inflation being a challenge, he said that in the first quarter of FY23, there has been a strong growth of 23 per cent in average ticket price (ATP which is Rs 250) and 32 per cent growth in average F&B spend per patron (which is Rs 134) as compared to the pre-pandemic period. He added that the spending ratio of F&B to ATP has also increased from 49 per cent to 54 per cent. “This shows that patrons have accepted the increase in ticket prices and there has been an increase in their spending on F&B. The contribution of recliner seats to overall footfalls and occupancy has also increased, indicating that patrons are willing to pay a premium for a more luxurious moviegoing experience. There was a strong bounce-back in theatrical admissions with 2.5 crore patrons visiting our cinemas during Q1 FY23.” 

    Festivals, Gautam explained, are a time when families bond with each other, while cinema is primarily a family entertainment medium, so they complement each other. What encourages him is the fact that there is a festive atmosphere and people are in a buoyant mood and like to eat out and watch movies with their families. Speaking about the big releases lined up across languages, he noted, “There is an exciting movie line up in the October to December period covering all languages and genres, released in multiple formats and appealing to all segments of the audience. These include “Vikram Vedha” (Hindi), “Kantara” (Kannada), Mani Rathnam’s “Ponniyin Selvan” (Tamil, Hindi, Telugu, Malayalam, Kannada), “The Woman King” (English), “Ticket to Paradise” (English), “Goodbye” (Hindi), “Doctor G” (Hindi), Warner Bros “Black Adam” (English), “Ram Setu” (Hindi), “Har Har Mahadev” (Marathi, Hindi, Tamil, Telugu, Kannada), “Prince” (Tamil, Telugu), “Thank God” (Hindi), “Phone Bhoot” (Hindi), Disney’s “Black Panther – Wakanda Forever” (English), “Uunchai” (Hindi), “Drishyam 2” (Hindi), “Bhediya” (Hindi), Disney’s “Avatar; The Way of Water” (English), “Cirkus” (Hindi).””

    When queried about the scene in terms of in-theatre advertising, he pointed out that there has been a gradual improvement in advertising revenue with a 68 per cent recovery in Q1 FY23 as compared to the pre-pandemic Q1 FY20. “Given the fact that we have some big films slated to release in the upcoming festive season, it will serve as an opportunity for us to revive advertiser interest and drive brand partnerships and retail opportunities. Q3, which includes the holiday season, is traditionally a good quarter for advertising surges, and we expect the same this year. We expect cinema advertising to reach close to 80 per cent of its pre-pandemic level and will bounce back and hit pre-Covid levels by the end of Q4.” 

    Offering further perspective, he said that PVR plays with fair equivalence vis-a-vis traditional media in terms of enjoying brand confidence and presence across various sectors of product categories. “Mostly all the relevant and sizable categories are on board with us. FMCG, telecom, e-commerce, ed-tech, BFSI (including fintech), consumer durables, automobiles, apparel, accessories, and jewellery, media entertainment, real estate, and so on are dominant categories. Some mainstream brands include Apple, Oppo, Cred, One Plus, Facebook, Whatsapp, Pepsico, Coke, Dyson, Kotak, Pepsi, Coke, Tata CliQ, Dettol, HDFC, Nippon , WOW etc.”

    On the ticket price front, he pointed out that the pandemic caused unprecedented damage to the film exhibition industry. It has practically remained shut or been allowed to operate partially for two years. In normal course, there would have been a marginal increase in ticket prices every year to match inflationary trends. There has been an increase in ticket prices since there was no increase in ticket prices for two full years. “Our average ticket price for FY 21-22 has been Rs 235, which is marginally more than Rs 204 in the pre-pandemic FY 19-20. Ticket prices are capped in three states, namely, AP, Karnataka, and Tamil Nadu, where we can’t do much. Moreover, they vary as per the category of the movie, show times during the day, weekdays and weekends.”

    In terms of where the growth is coming from, he reveals that over the last decade, the number of malls has increased dramatically. Previously, the development was happening in metros and tier I cities—they are now finding their way into tier II cities as well. “The expansion of multiplexes will also be aided by this deepening footprint. Moreover, there is a lack of out-of-home entertainment options in tier II and III as multiplexes continue to remain the cheapest form of similar leisure activity in India as compared to theme park visits, dining out, and vacations. With such indicators in place, our recent expansion to Narsipatnam, Rourkela, Patiala, and Nizamabad clearly shows our vision and commitment to strengthen our presence beyond metro cities.”

    He added that the company has revived its capex plans in a significant manner and is on track to open a total of 125 new screens during FY23. “We have opened 20 screens across four properties since the start of FY23. We recently opened our six-screen cinema at Hinjawadi, Pune, which includes a P[XL] auditorium that marks Pune’s first multiplex with an extra-large screen. About one-third of the new screen additions in this fiscal year will be in tier II and III cities. The company plans to enter nine new cities during the year.”

  • 2022 International Emmy Award announces gala & nominations from 23 countries

    2022 International Emmy Award announces gala & nominations from 23 countries

    Mumbai: Nominations for the 2022 International Emmy Awards were announced by the International Academy of Television Arts & Sciences. There are 60 nominees across 15 categories, spanning 23 countries.

    “When you look at the geographic spread, diversity, and quality of our nominees, it becomes obvious that great television knows no borders and is emerging around the world,” said International Academy President & CEO Bruce Paisner. “We look forward to recognising these outstanding programmes and performances on our global stage with the International Emmy.”

    The International Academy will present a new sports documentary category for the first time at its gala in New York.

    Founded in 1969, the International Academy is a non-profit, membership organisation based in New York City, with over 700 members from over 60 countries and 500 leading media and entertainment companies representing all industries of television, including internet, mobile, and technology.

    “This year is our 50th annual ceremony, and it’s particularly important because we are back at full strength after the pandemic. Last year, we had an in-person ceremony, but it was limited to half of our usual attendance,” stated Paisner. “Especially important to note as well, we are also resuming our in-person World Festival, highlighting the nominated programs from around the world.”

    The International Academy is a unique organisation because it serves as a platform for international television and media leaders to come together to exchange ideas, discuss common issues, and promote new strategies for the future development of quality global television programming.

    “The International Emmys provide an incredible opportunity for media companies from around the globe to build bridges and connect with one another,” stated Narendra Reddy, Chief Operating Officer of The Africa Channel. “We’ve worked with the Academy to raise the profile of African content and media companies. We organised two juries in South Africa with the heads of media companies from all around the continent, which was very successful.”

    Each year, the leading television producers from around the world showcase their programming and compete to be recognised at the prestigious International Emmy Awards, where over one thousand international broadcasting, production, and distribution executives convene to celebrate the best in global television produced outside of the United States, as well as U.S. primetime programmes produced in languages other than English.

    In 2021, nominees from India included Nawazuddin Siddique for best performance by an actor in Serious Man, Vir Das: For India for best comedy, and Aarya for best drama series.

    “The quantity and quality of TV production is exploding around the world,” said Paisner. “It is clear to me that the International Academy and the Emmys play a vital role in recognising the importance of international television.”

    In addition to the International Emmy Awards, the Academy’s yearly schedule of events includes the International Emmy Kids Awards at Mip and a series of industry events such as Academy Day, the International Emmy World Television Festival, and panels on substantive industry topics.

    Winners will be announced at the 50th International Emmy Awards Gala in New York City on Monday, 21 November 2022.

    2022 International Emmy Awards Nominees:

    Arts Programming

    “Bios: Calamaro”

    Buena Vista Original Productions (Disney) / Nat Geo

    Argentina

    “Charlie Chaplin, Le Génie De La Liberté” [Charlie Chaplin, The Genius Of Liberty]

    France Télévisions / Kuiv Productions

    France

    “Freddie Mercury: The Final Act”

    Rogan Productions

    United Kingdom

    “Wonderful World: A New York Jazz Story”

    NHK

    Japan

    Best Performance by an Actor

    Sverrir Gudnason in “En Kunglig Affär” [A Royal Secret]

    SVT

    Stellanova Film / SVT / Film i Väst / Stockholm Film Fund

    Sweden

    Scoot McNairy in ”Narcos: Mexico”

    Netflix / Gaumont

    Mexico

    Dougray Scott in “Irvine Welsh’s Crime”

    Cineflix Media Inc. / Buccaneer Media / Off Grid Film & TV

    United Kingdom

    Lee Sun-Kyun in “Dr. Brain”

    Bound Entertainment / Kakao Entertainment / Studioplex / Dark Circle Pictures / Apple

    South Korea

    Best Performance by an Actress

    Celine Buckens in “Showtrial”

    World Productions

    United Kingdom

    Leticia Colin in “Onde Está Meu Coração” [Where My Heart Is]

    Globoplay

    Brazil

    Kim Engelbrecht in “Reyka”

    tpf london / Quizzical / Serena Cullen Productions / MNET South Africa / Fremantle / Heromotives

    South Africa

    Lou de Laâge in “Le Bal des Folles” [The Mad Women’s Ball]

    Légende Films / Amazon

    France

    Comedy

    Búnker [Bunker]

    HBO Latin America / WarnerMedia Latin America / Dopamine

    Mexico

    Dreaming Whilst Black

    Big Deal Films

    United Kingdom

    On The Verge

    The Film TV / Canal+ Creation Originale

    France

    Sex Education

    Netflix / Eleven Film

    United Kingdom

    Documentary

    “Enfants De Daech, Les Damnés De La Guerre” [Iraq’s Lost Generation]

    Cinétévé / France Televisions / LCP / RTS / DR / NRK / SVT / Région Ile-de-France / CNC / PROCIREP – ANGOA

    France

    “Myanmar Coup: Digital Resistance”

    NHK

    Japan

    “O Caso Evandro” [The Evandro Case: A Devilish Plot]

    Globoplay / Glaz Entretenimento

    Brazil

    “The Return: Life After ISIS”

    Sky / Alba Sotorra Productions / MetFilm

    United Kingdom

    Drama Series

    Lupin

    Netflix / Gaumont Television

    France

    Narcos: Mexico

    Netflix / Gaumont

    Mexico

    Reyka

    tpf london / Quizzical / Serena Cullen Productions / MNET South Africa / Fremantle / Heromotives

    South Africa

    Vigil

    World Productions

    United Kingdom

    Kids: Animation

    Dapinty, Una Aventura Musicolor [Dapinty, A Musicolor Adventure]

    Silverwolf Studios

    Colombia

    Fumetsu No Anata E [To Your Eternity]

    NHK

    Japan

    “Les Lapins Cretins – Invasion: Mission sur Mars” [Rabbids Invasion Special – Mission to Mars]

    Ubisoft Motion Pictures Rabbids

    France

    “Shaun the Sheep: Flight Before Christmas”

    Netflix / Aardman

    United Kingdom

    Kids: Factual & Entertainment

    Ikke Gjor Dette Mot Klimaet! [Don’t Do This To The Climate]

    NRK

    Norway

    My Better World

    Fundi Films / Maan Creative / Impact(ed) International

    South Africa

    Newsround Special – Let’s Talk About Periods

    BBC

    United Kingdom

    “Sueños Latinoamericanos” [Latin American Dreams]

    Mi Chica Producciones / Consejo Nacional De Television De Chile / Television Nacional De Chile

    Chile

    Kids: Live-Action

    “Anonima” [Anonymously Yours]

    Netflix / Woo Films

    Mexico

    Hardball – Season 2

    Australian Children’s Television Foundation / Northern Pictures

    Australia

    Kabam!

    NPO / IJswater Films / KRO-NCRV

    Netherlands

    Lightspeed

    Oak 3 Films Pte Ltd / Mediacorp TV Singapore Pte Ltd

    Singapore

    Non-English Language U.S. Primetime Program

    2021 Latin American Music Awards

    NBCUniversal Telemundo Enterprises / Somos Productions, LLC

    United States

    Buscando A Frida

    Telemundo Global Studios / Argos

    United States

    La Suerte De Loli

    Telemundo Global Studios

    United States

    Malverde, El Santo Patrón

    Telemundo Global Studios / Equipment and Film Design (EFD)

    United States

    Non-Scripted Entertainment

    La Voz Argentina [The Voice] – Season 3

    VIACOMCBS / Telefe

    Argentina

    LOL: Last One Laughing Germany

    Constantin Entertainment GmbH / Amazon

    Germany

    Love on the Spectrum – Season 2

    Northern Pictures / ABC / Netflix

    Australia

    Top Chef Middle East – Season 5

    NBCUniversal

    United Arab Emirates

    Short-Form Series

    Espíritu Pionero [Pioneer Spirit]

    TV Pública Argentina

    Argentina

    Fly on the Wall

    Al Jazeera Digital

    Qatar

    Nissene i bingen [Santas in the Hay]

    Seefood TV

    Norway

    Rūrangi

    Autonomouse / The Yellow Affair

    New Zealand

    Sports Documentary

    “Chivas”

    Amazon Studios / Film 45 / Amazon / CobraFilms

    Mexico

    “Kiyou No Kata” [Kiyou’s Kata]

    Kansai Television

    Japan

    “Nadia”

    Federation Entertainment / Echo Studio

    France

    “Queen Of Speed”

    Sky / Drum Studios

    United Kingdom

    Telenovela

    Nos Tempos Do Imperador

    TV Globo

    Brazil

    Two Lives

    Bambú Producciones

    Spain

    YeonMo [The King’s Affection]

    KBS (Korean Broadcasting System) / Netflix / Monster Union / Arc Media

    South Korea

    You Are My Hero

    Gcoo Entertainment Co. Ltd. / China Huace Film & TV Co., Ltd / Croton Cultural Media Co., Ltd. / BEIJING LE BEN FILM MEDIA / Jindun Film & Television Culture Center of the Ministry of Public Security of China

    China

    TV Movie/Mini-Series

    Help

    The Forge / All3Media International

    United Kingdom

    Il est elle [(S)he]

    Newen Connect / And So On Films

    France

    Isabel, La Historia Íntima De La Escritora Isabel Allende [Isabel, The Intimate Story Of Isabel Allende]

    Megamedia Chile

    Chile

    On The Job

    Reality MM Studios / Globe Studios / HBO / Warner Media

    Philippines

  • IIFA Weekend & Awards: Abu Dhabi to host the 23rd edition of the event in Feb 2023

    IIFA Weekend & Awards: Abu Dhabi to host the 23rd edition of the event in Feb 2023

    Mumbai: The International Indian Film Academy (IIFA) Weekend And Awards, which brings together the best of the Indian film industry, will return to Yas Island, Abu Dhabi, in February 2023. IIFA 2023 will be held in collaboration with the department of culture and tourism in Abu Dhabi (DCT Abu Dhabi) and Miral, which creates immersive destinations and experiences.

    The 22nd edition of IIFA this year at Yas Island, Abu Dhabi, was hosted by Salman Khan, Riteish Deshmukh and Maniesh Paul. It had performances by talent from the Indian film fraternity. The three-day awards weekend was attended by more than 350 media from 17 countries across the globe, and more than 20,000 people thronged the arena.

    The 23rd edition of IIFA will again be hosted at the world-class Etihad Arena, Yas Island, Abu Dhabi—the Middle East’s largest state-of-the-art indoor entertainment venue in February 2023. The upcoming edition will see Salman Khan, Varun Dhawan, Karan Johar, Kriti Sanon, and many more in attendance.

    For many decades, India and Abu Dhabi have had strong cultural and commercial ties. IIFA Weekend & Awards will be a celebration of togetherness and positivity, returning to Yas Island in Abu Dhabi and enhancing, strengthening, and building even stronger bonds. IIFA 2023 will be a grand celebration of the best talent in Indian cinema, bringing together global dignitaries, international media, fans, and film enthusiasts worldwide. The aim is to also present a greater opportunity for long-term impact in tourism, trade, and the film production business for the destination.

    IIFA VP Noreen Khan said, “IIFA this year was an amazing experience thanks to the wonderful partners Miral and DCT. Coming back after two years, we really worked hard to deliver the very best of live entertainment again. The best part was that the entire weekend delivered a positive experience for everyone who witnessed or experienced the event in any way. We have been inundated with unprecedented appreciation and comments from everyone who truly has had a wonderful time this year in Abu Dhabi, and so we are pleased and excited to bring it all back again, but with much more magic to come next year.”

    DCT Abu Dhabi DG for Tourism HE Saleh Mohamed Al-Geziry said, “We are honoured to once more welcome the IIFA Weekend and Awards to the Etihad Arena. With the eyes of the world’s film industry upon us, we have an amazing opportunity to share with the world Abu Dhabi’s exciting nightlife, inspiring cultural experiences, and restorative escapes. The awards in February can only enhance our reputation as a global centre for top-tier leisure, entertainment, and business events.

    Miral executive director of group communications and destination marketing Taghrid Al Saeed said, “We were thrilled to see the immediate impact that IIFA presented to Yas Island, Abu Dhabi when we hosted the event last June, which created great engagement around the world. We are excited to be back hosting again this year and to be the first destination to consecutively hold the IIFA Weekend and Awards.  We are proud of this partnership, which is already delivering valuable business and tourism opportunities from India to the island.  The return of this great event is another testament to Yas Island’s position as a global entertainment and leisure destination as well as an international events hub.”

    People can now buy tickets to the awards ceremony spanning over three days at https://www.etihadarena.ae/en/ from 30 September 2022. The price range begins at 100 AED and goes up to 1,500 AED. People can now get an opportunity to buy tickets to the celebration of Indian Cinema at https://www.etihadarena.ae/en/box-office or head to www.yas island.ae where fans can add all that they need for their visit to Yas Island as a travel package.

  • Next phase of growth for the theatrical business will come from tier II, III, IV towns & cities: Industry

    Next phase of growth for the theatrical business will come from tier II, III, IV towns & cities: Industry

    MUMBAI: The next phase of growth for the theatrical business will come from tier III and IV towns and cities. Even in tier II there is a scope for growth. There people have high disposable income. Also, it does not take them much time to commute unlike in the metros. It is a question of providing the right ambience. The theatres have to be projected, presented in the right way. The learning from the success of ‘National Cinema Day’ is that ticket pricing needs to be dynamic. Meanwhile, linguistic barriers are demolished. So, a Nepali movie can do well in Chennai. The issue is not that footfalls have gone down. It is that taste which is shifting. Only, if a movie is good then will people come.

    The points were discussed at a session during ‘Ficci Frames Fast Track 2022’ called New Paradigm in Business of Cinema: Consumer Choices and Screen Comfort. The speakers were UFO Moviez CEO (film distribution) Pankaj Jaysinh, Sony Pictures International India general manager head Lada Guruden Singh, exhibitor and distributor Rockline Venkatesh and Movie Max chief operating officer Kunal Sawhney. The panel was moderated by Aashirwad Theatres director Akshaye Rathi.  

    Sawhney made the point that ‘National Cinema Day’, where tickets prices came down to Rs 75, was an eyeopener. Ticket prices need to be dynamic. Right now, movies are sold at the same price. He pointed out that the rates differ everywhere-be it at hotels or restaurants. “The right product has to be served at the right price.” He noted that marketing played an important role in ‘National Cinema Day’, being successful. Multiplexes also came together.

    Singh noted that the jury is still out on what films will work on what platform. “We do not have a clear cut understanding of which film will work where. But the forecast is that the stakes will become higher for the big cinematic experience. You will put more money behind creating a cinematic experience because it is going to become more difficult for people to make an appointment viewing. Going to theatres is an appointment viewing. Superhero, tent pole and action movies will be theatrical releases. Meanwhile, slice of life movies, romantic comedies and horror to a large degree work well for OTT. The demarcations are going to come. Theatre, however, is an experience that we cannot compensate for,” he said.

    UFO Moviez has recently started distributing movies that became surprise successes like Rocketry and Karthikeya 2. Jaysinh noted that linguistic barriers were demolished. For instance, Brahmastra did well in the southern states and that is where traditionally Hindi movies did not do well.

    UFO Moviez was always at the center of change. Jaysinh said, “We found that the right content was not reaching the right audience. A Nepali movie screened in Tamil Nadu had houseful shows. In Cochin, a theatre owner said that one more show timing had been added. Meanwhile, a Tamil movie did well in Jalandhar. This is the paradigm shift that is going on. In terms of marketing, he said that social media is taking the movies forward, not hoardings. The word spreads that a movie is good. So UFO Moviez is providing a block for the change that is happening.”

    Offering his perspective on linguistic barriers being broken, Sawhney said that this is also due to OTT. People are now being exposed to movies in different languages. They are open to it. Earlier, they could not relate to it. Due to OTT, people are aware of that kind of content. Sawhney said that ticket pricing needs to be dynamic. “In multiplexes there is fixed pricing based on time slots and weekdays. But a bigger budget movie and a movie that is not that popular is sold at the same price. But in hotels, restaurants, and airlines the price differs depending on the product. But in a cinema if you visit it on a Saturday evening all movies are screened at the same ticket price. People pay this price for some movies like RRR and KGF.” He also said that the Rs 75 initiative on ‘National Cinema Day’ worked due to the marketing. Cinema halls came together. The Multiplex Association worked on it. News channels spoke about it. People who did not want a movie on that day were told to watch it.

    Offering his take on prices, Jaysinh said that morning shows at 10 a.m and 11 a.m, which can be screened at a discount and will attract senior citizens. They are willing to come at that time and they will be the mouthpiece to tell their children and grandchildren.

    Talking about the way stories are told, Singh said that people in his company are passionate about Bharat stories. “It is imperative for studios like us to back stories that do not just cater to the Bandra Juhu crowd. Stories must resonate from Gandhinagar to Gorakhpur to Gangtok.” That is the philosophy which was followed to make a Telugu Hindi movie on one of the heroes of 26/11. It had a Telugu star and a director. But it was shot in Hindi and released pan India. It was also released abroad as it resonated with everyone across the world. The studio also backed Shaktimaan. He said that when they are backed by a big studio people start thinking along more creative lines because they feel that there is an opportunity. Then naturally the food chain starts functioning. So studios must understand that real growth lies in India. The decision is made on economics not on emotion. “It is important for all of us to come together and celebrate Bharat.”

    Sawhney noted that potential growth comes from tier II and III cities. They have high disposable income and time. They do not take much time to commute unlike the metros. The key is to make more good theatres there. Movies have to be projected, presented in the right way. The right ambiance, right service has to be created. Then people will come, he noted and added that even if the movie is not popular. There has to be a good theatre where the families can go. That is what is required. There is no other medium of entertainment for them. Jaysinh said that in a survey that his company underwent, people are eager to go to theatres in tier III and IV cities. The basic question is whether the theatre will have an AC. If that is there, they are willing to go. The plan is to come up with smaller screen cinemas in those places keeping in mind the fact that people want comfort.

    On the issue of the lack of cinemas vis-a-vis the population, it was pointed out that costs are high. Retail cost is high. There is also the screen cost. The industry has to come together on this. Earlier, while rental was being paid, now there is a move towards revenue sharing.