ITV

Category: Production House

  • Prash Dalvi and Saloni Surti launch punctuate productions in Mumbai

    Prash Dalvi and Saloni Surti launch punctuate productions in Mumbai

    Mumbai: Prash Dalvi and Saloni Surti have launched Punctuate Productions, a new content studio aimed at revolutionising the video solutions market. Based in Mumbai, the studio brings a fresh approach to content creation, focusing on short video production, digital video films, TVCs, branded content, and more. With over 25 years of combined experience, Prash and Saloni are committed to crafting videos that deeply resonate with audiences, tapping into cultural insights and evoking emotions that drive action.

    Launched earlier this year, Punctuate Productions started with just two people and has now grown to a dynamic team of over 10. Prash brings over 12 years of experience, having worked with industry giants like Pepper Content, Stonks Studios, and Social Samosa. His expertise in short-form content includes viral campaigns for brands such as Swiggy and Google. Saloni, with 13+ years of experience in journalism and content marketing, has collaborated with multiple prestigious publications, shaping the studio’s vision for impactful, authentic content.

    Punctuate Productions is known for its Emotive Content Strategy (ECS), which aims to create videos that evoke a wide range of emotions. From curiosity to envy, every video is designed to resonate with viewers and spark action. The studio’s work spans a variety of brands, including Bill & Melinda Gates Foundation, Motilal Oswal AMC, Swiggy, Google India, Prime Video India, and others.

    Some of their key campaigns include:

     

     

     

     

     

     

     

     

    Punctuate Productions is also the creator of the popular ‘A&M Interview Series – Human Behind the Marketer’, which features prominent figures from the advertising, marketing, and digital industries. Season one included notable industry names such as Piyush Pandey and Krishnarao Buddha.

    Punctuate Productions co-founder, Dalvi said, “With just a swipe of the thumb, consumers can skip any content. At Punctuate Productions, we see this as our challenge – and our commitment. We create videos that people don’t just see; but seek out. By crafting content that aligns with what consumers genuinely want, rather than simply pushing what we want to show, we ensure every frame resonates, captures, and holds attention.”

    Punctuate Productions co-founder, Surti shared, “My 12+ years in Advertising & Marketing journalism were like a master’s degree in the industry. The campaigns that have stayed with me weren’t just great stories—they were built on real, resonant insights. At Punctuate Productions, we are driven by the same commitment to authenticity and impact, collaborating with brands and agencies alike to create videos that seamlessly weave into the fabric of consumers’ daily lives.”

  • Balaji Telefilms makes two senior management changes

    Balaji Telefilms makes two senior management changes

    MUMBAI: There were further changes at Balaji Telefilms over the weekend. The company redesignated  long running group CFO and COO  Sanjay Dwivedi as group CEO. He continues to hold the CFO portfolio as well. Then, Balaji Motion Pictures EVP distribution & syndication Vimal Doshi was promoted as the COO – motion pictures. 

    With 30 years of experience covering media, entertainment and FMCG, Sanjay joined the group in 2013 as the CFO of Balaji Telefilms, functioning as a member of the core management team.. He works closely with managing director, joint managing director and the board. During his journey with the group, he has led the fund-raising activities; obtained sanction from private banks for business initiatives; saved substantial amount in tax benefits through several initiatives, including clearing of old tax claims; and manages treasury corpus, in addition to other tasks as assigned from time-to-time.  

    Prior to joining Balaji, he held senior management positions at Nimbus Communications and Entertainment Network India Limited (Radio Mirchi, part of the Times Group). He earlier worked with GlaxoSmithKline Pharmaceuticals (India) and Tata Steel in the finance functions.

    In his current role, Sanjay  will be responsible for the group’s overall growth and success, will lead the company’s operational strategies, and will continue to head the finance function. 

    As  COO – motion pictures, Vimal will be entrusted with the entire operations of the movie division for existing films, new film project development, marketing operations, distribution and syndication. As in his previous role, he will continue to head revenue for distribution and syndication of films.  

    Vimal has a total work experience in the film industry of about 26 years.. He joined Balaji in 2007 as assistant manager for theatrical distribution and has distributed several films since. In 2015, he  started heading all sales for films. He has done slate deals with major OTTs, music labels and buyers like Netflix, Tips, SaReGaMa and has scripted and maintained strategic partnership with media behemoth, Zee. In  the past three years, Vimal has also looked into various co-Productions and actively manages relationship with co-producers and talents. 

    Says Balaji Telefilms managing director  Shobha Kapoor:“I am delighted that Sanjay has been promoted as the CEO. His exceptional leadership track record, deep strategic expertise, profound experience in the M&E sector and overall understanding of our business makes him an excellent fit for leading the group as the CEO and setting higher standards.   We are also excited to elevate Vimal as the COO – motion pictures to lead our films division. With exciting movies in pipeline, his extensive experience and visionary approach will foster our growth in the entertainment industry. Sanjay and Vimal have been with Balaji Group for over decades and under their leadership and guidance, I am confident that Balaji will achieve new milestones and add value for all our stakeholders.”  

     

  • Filmcity Media’s Q2 results reflect strategic challenges in FY25

    Filmcity Media’s Q2 results reflect strategic challenges in FY25

    Mumbai: Filmcity Media Limited’s recently released Q2 FY25 financial results paint a sobering picture of the company’s ongoing struggle to maintain financial stability. Despite minor upticks in quarterly revenue, persistent losses and dwindling operational margins highlight significant challenges in navigating an increasingly competitive media landscape.

    The company reported a net loss of Rs 2.56 lakhs for the half-year ending September 30, 2024, a stark contrast to its modest profit of Rs 9.15 lakhs in the previous fiscal year. Year-over-year comparisons reveal an alarming dip in quarterly profitability:

    – Revenue from operations rose marginally by 8.7 per cent QoQ to Rs 65.30 lakhs but remained stagnant when juxtaposed with Rs 125.10 lakhs for the corresponding half-year in FY24.

    – Operating expenses surged, with purchases climbing to Rs 115.00 lakhs, reflecting an aggressive investment in inventory that has yet to yield tangible returns.

    – Other expenses also increased significantly, reaching Rs 9.09 lakhs in Q2 FY25 compared to Rs 6.11 lakhs in the prior quarter, compounding the company’s financial strain.

    – Cash and cash equivalents dwindled to Rs 0.50 lakhs from Rs 1.25 lakhs as of March 2024, raising concerns about liquidity and working capital management.

    The company’s profit before tax (PBT) stood at a meagre Rs 0.49 lakhs for Q2 FY25, marking a recovery from the prior quarter’s negative PBT of Rs 3.05 lakhs. However, this figure remains dwarfed by the Q2 FY24 loss of Rs 66.29 lakhs, underscoring persistent underperformance.

    Filmcity Media’s total assets rose to Rs 463.82 lakhs as of 30 September 2024, compared to Rs 317.40 lakhs at the end of FY24. This growth, driven by increased trade receivables and inventory, reflects a strategic pivot toward bolstering its asset base. However, rising liabilities, particularly current liabilities surging to Rs 162.89 lakhs, indicate mounting financial obligations.

    Filmcity Media’s reliance on a single revenue stream, coupled with escalating operational costs, points to the need for diversification. The company also reported no gains from the sale of shares or investments, marking a missed opportunity to offset operational losses.

    The marginal increase in employee benefit expenses to Rs 1.74 lakhs per quarter suggests an attempt to stabilise the workforce amidst rising operational pressures. However, with no significant changes to other income streams, the company risks stagnation.

    While the company’s balance sheet reflects a cautious optimism, with inventory holdings at Rs 287.79 lakhs, monetising these assets effectively remains critical. Strategic shifts, such as diversifying revenue streams and optimising operational costs, will be key to reversing current trends. The company’s resilience will hinge on its ability to streamline operations, manage liabilities, and generate sustainable cash flows.

  • Disney’s Q4 ends on a strong note with 23 per cent growth in operating income

    Disney’s Q4 ends on a strong note with 23 per cent growth in operating income

    Mumbai: We all grew up enchanted by the gleaming white castle, its spires stretching toward the heavens, a symbol of dreams brought to life. Since its debut in 1985, that castle, now softly lit by a setting sun with just the word ‘Disney’ below, has stood as a beacon of imagination and innovation. Today, much like the castle, The Walt Disney Company stands resilient, weathering decades of change and continuing to captivate hearts worldwide.

    Closing fiscal 2024 on a high note, Disney showcased a masterclass in adaptation and growth amidst shifting tides in the entertainment industry. With Q4 revenue soaring 6 per cent to $22.6 billion and full-year revenue climbing 3 per cent to $91.4 billion, Disney reaffirmed its status as a powerhouse, delivering not just profits but enduring magic for fans and shareholders alike. Diluted earnings per share (EPS) rose dramatically, with Q4 showing a 79 per cent increase to $0.25, and full-year EPS more than doubling to $2.72, reflecting improved operational efficiency.

    Despite a 6 per cent dip in pre-tax income to $0.9 billion for Q4, full-year figures paint a brighter picture with an impressive 59 per cent jump to $7.6 billion compared to FY23. The company delivered $8.6 billion in free cash flow, marking an impressive 75 per cent year-over-year increase, driven by lower production costs and higher operating income. Share buybacks of $3 billion and dividends tracking earnings growth highlight Disney’s commitment to shareholder value.

    Disney’s Entertainment segment witnessed stellar growth, with operating income soaring past $1.1 billion, reflecting a staggering >100 per cent year-over-year improvement. This resurgence was bolstered by a 14 per cent increase in revenue to $10.8 billion, driven by box office hits such as Pixar’s “Inside Out 2″ and Marvel’s “Deadpool & Wolverine”, collectively amassing $316 million in operating income.

    Direct-to-Consumer (DTC) profitability marked a significant milestone, transitioning from a $420 million loss in Q4 FY23 to a $253 million profit in Q4 FY24. Disney+ Core subscriptions grew by 4.4 million, reaching 120 million paid subscribers, while Hulu gained an additional 2 per cent to 52 million subscribers.

    While the Sports segment saw a minor 5 per cent decline in operating income to $929 million, domestic ESPN advertising revenue increased by 7 per cent, showcasing continued strength in live sports. However, rising costs, particularly in college football rights, weighed on overall profitability.

    The Parks and Experiences segment achieved record annual revenues of $34.2 billion, driven by higher guest spending and innovative offerings like the Disney Cruise Line. Nonetheless, Q4 revenue growth was modest at 1 per cent, with international parks reporting a 6 per cent decline in operating income, attributed to lower attendance and higher operating costs.

    Disney invested $5.4 billion in capital expenditures, reflecting its focus on long-term growth via fleet expansions and next-generation attractions. CEO Robert A. Iger expressed optimism, emphasising Disney’s strategy to leverage its vast entertainment assets to deliver exceptional returns and sustained innovation.

    Looking ahead, Disney projects high single-digit EPS growth in FY25, targeting $15 billion in operating cash flow and $3 billion in stock repurchases. Entertainment DTC operating income is forecasted to grow by $875 million, signalling robust momentum in the streaming space.

    As Disney emerges from a challenging yet transformative phase, the FY24 results underscore its ability to adapt, innovate, and grow amidst industry headwinds. With a diverse portfolio spanning streaming, sports, and experiential entertainment, Disney’s fiscal trajectory remains a compelling narrative of resilience and ambition.

  • Golden Visa program has significantly contributed to the influx of Indian creatives into Dubai’s media ecosystem: Majed Al Suwaidi

    Golden Visa program has significantly contributed to the influx of Indian creatives into Dubai’s media ecosystem: Majed Al Suwaidi

    Mumbai: As Indian creatives and production houses seek new opportunities to broaden their reach, Dubai Studio City has emerged as a vital gateway, providing world-class infrastructure and cutting-edge facilities designed to elevate content creation and distribution on a global scale. This vibrant hub serves not only as a state-of-the-art filming and production complex but as a springboard for Indian media companies looking to break into international markets.

    They have introduced a range of forward-thinking initiatives, such as the Golden Visa program, which is specifically designed to attract top-tier talent from India and beyond. This long-term residency program offers creative professionals and entrepreneurs the stability and opportunities they need to thrive in Dubai’s dynamic media landscape.

    Indiantelevision.com’s Rohin Ramesh caught up with Majed Al Suwaidi, senior vice president of Dubai Media City, Dubai Studio City & Dubai Production City at Tecom Group PJSC where he  discussed the strategic role they play as a gateway for Indian creatives to access global markets,

    On Dubai Studio City planning to strengthen ties with Indian media and entertainment companies

    Dubai Studio City, one of Tecom Group PJSC’s 10 vibrant business districts in Dubai, is strengthening ties with global media and entertainment companies, including talented Indian content creation specialists. Our world-class infrastructure and pro-creativity environment foster a strategic bridge that links Indian creatives with global audiences by leveraging Dubai’s strategic location and multicultural environment. Alongside Dubai Media City and Dubai Production City, our district forms Tecom Group’s Media Cluster, an interconnected hub home to more than 3,500 customers and 38,000 professionals.

    On highlighting some of the advanced facilities or technologies that have been especially beneficial to content creators, particularly those coming from India

    Our state-of-the-art infrastructure includes among the region’s largest Sound Stages, backlots, and production offices, all tailored to serve diverse production needs. We also offer support to incorporate cutting-edge technologies and support for virtual production, augmented reality (AR), and artificial intelligence (AI) integration to push the boundaries of storytelling through in5 Media. The dedicated vertical of Tecom Group’s in5 incubator, in5 Media’s dedicated Innovation Centre at Dubai Production City provides access to specialised facilities, further enhancing the production process for creative entrepreneurs seeking to start or scale up from Dubai.

    On some initiatives shaping Dubai’s freelance culture, particularly within the media industry

    Tecom Group’s D/Quarters and GoFreelance platforms are vital pillars that support our vision to foster a thriving creative community in Dubai for global impact. GoFreelance offers flexible and collaborative workspaces at the heart of Dubai Media City and Dubai Internet City, while GoFreelance nurtures the gig economy with networking opportunities. Our strategic alignment with Dubai Film and TV Commission also offers access to content production activities for producers, film crews, and filmmakers. Combined with our sector-specific infrastructure, these offerings ensure a dynamic and agile media landscape.

    On this initiative impacting the influx of Indian creatives and professionals into Dubai’s media ecosystem

    In a testament to Dubai’s high quality of life and the close ties between the UAE and India, more than 3.5 million Indians call the UAE their home. The Golden Visa program has significantly contributed to the influx of Indian creatives and professionals into Dubai’s media ecosystem. Having attracted a wave of cinematic and creative personalities from India in recent years, the programme strengthens bilateral ties and reaffirms Dubai’s appeal to Indian creatives seeking global opportunities.

    On specific collaborative projects or strategies you are considering tapping into the Indian market

    More than 46 per cent of global media professionals expect advanced emerging technologies and the adoption of AI solutions to impact their field of expertise in the coming years. Moreover, 77 per cent agree Dubai and the UAE provide well-developed infrastructure to enable creative excellence, according to Dubai Design District’s and Dubai Media City’s Digital Creative Economy 2024 white paper, developed in partnership with global digital consultancy Monstarlab. We recognise the immense potential of the Indian digital content market and nurture talent to harness such cutting-edge technologies.

    On Tecom Group planning to support or incorporate esports-focused facilities or partnerships within the media cluster

    The rapidly growing esports industry in India and South Asia presents new opportunities for audience engagement and revenue, and with the UAE having played IPL host in 2014 and 2020 – as well as the IPL 2024 auction in Dubai in 2023 – we are keenly tracking the e-sports industry’s growth in India and beyond. Tecom Group’s Media Cluster is at the forefront of supporting the industry evolution that the growth of e-sports represents, and we will nurture our community to embrace such innovation.

    On top priorities for Dubai Media City, Dubai Studio City and Dubai Production City in the next three-five years

    We will continue to invest in world-class infrastructure and platforms to strengthen our ecosystem for global talent and leaders from international markets, including India. Our Media Cluster is geared to solidify Dubai’s position as a global hub for content creation, driving innovation and contributing to the growth of the global creative economy.

  • Eskay Movies unveils teasers for 18 Bengali films at 18onScreen event

    Eskay Movies unveils teasers for 18 Bengali films at 18onScreen event

    Mumbai: On November 11, 2024, Eskay Movies made history by revealing teasers and posters for 18 upcoming Bengali films at 18onScreen, hosted at Taj Bengal, Kolkata. This grand showcase, emceed by the dynamic Mir Afsar Ali, was a first for the Indian film industry, spotlighting the largest simultaneous film reveal by a single production house. The event attracted top industry figures, including actors, directors, journalists, distributors, and exhibitors, giving them an exclusive preview of the slate.

    Eskay’s ambitious lineup spans multiple genres, including drama, romance, comedy, thrillers, psychological horror, family stories, detective fiction, supernatural, fantasy, and mystery. This diverse selection features celebrated talents like Shakib Khan, Ankush Hazra, Parambrata Chattopadhyay, Raima Sen, and Ishaa Saha, among others. Esteemed directors such as Kamaleswar Mukherjee, Joydeep Mukherjee, and Moinak Bhowmik are set to helm these projects, promising a mix of fresh perspectives and cinematic expertise.

    Eskay Movies

    The musical scores for these films are crafted by distinguished composers, including Anupam Roy and Debajyoti Mishra, with performances from iconic singers like Javed Ali, Monali Thakur, and Usha Uthup. Collectively, 67 songs will enhance these films, further enriching the cinematic experience for audiences.

    With a storied 35-year history and a catalogue exceeding 300 films and 1,000 music albums, Eskay Movies has significantly influenced Bengali cinema. The company’s contributions extend beyond film production to supporting the launch of major TV channels like Star Jalsha and Zee Bangla Cinema. Eskay is also a leader in digital cinema, operating over 80 theatres and amassing a strong digital following, including 6.5M+ YouTube subscribers and 15M+ Facebook followers.

    Eskay

    Eskay Movies managing director, Himanshu Dhanuka emphasised the importance of this milestone: “Presenting this line-up of 18 films underscores our unwavering commitment to Bengali cinema and our audiences, marking a ground-breaking milestone for the industry. Achieving this has taken tremendous effort, and we are incredibly proud of the result. Featuring a star-studded cast and an array of genres, this slate is crafted to engage a wide audience with heartfelt, resonant stories. Each film is a valuable intellectual property that forms a legacy we are committed to preserving. We will continue to push boundaries in content creation and deliver compelling stories for years to come.

    Eskay Movies founder & chairman, Ashok Dhanuka reflected on the company’s journey:  “For me, the film industry is a place which has given me all. Starting from a very humble background, to be able to serve the business of Cinema as a producer, to a technical and equipment collaborator to Cinema Hall ownership, it has been an outstanding journey. And now, we want to spread our wings even further and today’s evening is a step in that direction.”

  • P. B. Films Ltd reports 6 per cent decline in earnings amid stagnant revenues

    P. B. Films Ltd reports 6 per cent decline in earnings amid stagnant revenues

    Mumbai: In a fiscal environment demanding flexibility, P. B. Films Limited faces a tough half-year as reported in its QYF25 financial statement. The Kolkata-based company’s unaudited financial results for the six months ending September 2024 reveal a concerning narrative, characterised by stagnant revenue streams and operational pressures. Against a backdrop of increased industry competition and tighter cash flow management, P. B. Films are struggling to maintain financial resilience.

    The report highlights a decline in key financial metrics. Total assets, valued at Rs 17,16,547.35 for the period ending September 2024, grew by only 3.3 per cent compared to Rs 16,62,406.71 in March 2024. While the increase in assets is notable, it’s offset by underperformance in revenue-generating areas. Total equity fell from Rs 9,82,667.21 to Rs 9,76,967.04, indicating a shrinkage in shareholder value, which is troubling for long-term investors.

    P. B. Films’ operating loss for the period, at Rs -5,424.67, reflects a 25.7 per cent improvement over the previous loss of Rs -7,301.35 in September 2023. However, this positive shift is undermined by challenges in cash flow, as seen in the net cash from operations amounting to only Rs 84,972.73, a sharp decline from March’s operational surplus. The limited cash inflow suggests tighter liquidity, complicating further investments and operational expenses.

    Inventory management has proven costly for P. B. Films. While total current assets rose to Rs 17,11,969.69, the lack of diversity in asset utilisation and growth, specifically in inventories and receivables, is apparent. The firm’s trade receivables stagnated at Rs 95,977.07 and cash reserves saw a modest increase, rising from Rs 32,652.40 to Rs 36,534.59, which, despite growth, underscores a lack of efficient cash deployment.

    The financial report details a decline in non-current assets to Rs 4,577.66  from Rs 4,957.39 , indicating reduced investments in long-term assets such as property and plant. Liabilities, meanwhile, remained high, with short-term borrowings totaling Rs 5,72,653.00, an increase that reflects heightened dependency on external funding sources.

    P. B. Films saw a significant reduction in cash generated from financing activities. Net cash used in financing dropped to Rs 81,090.00, a stark reversal from the previous year’s injection of Rs 53,903.00 into short-term borrowings. Such reduction signals tightened access to funding, an alarming trend considering the demands of the competitive film industry, where capital for projects is critical for sustained growth.

    Additionally, cash flow from investing activities remained stagnant at Rs 0, underscoring missed opportunities for capital deployment. The statement shows no interest income or investment gains, and loans and advances reflected minimal reduction in value. In contrast, trade payables dropped significantly from Rs 14,358.66 to Rs 7,049.66, which could suggest delayed payments to suppliers or efficient negotiation, although it might raise concerns over credit terms with vendors.

    With the entertainment and media sector facing volatility, P. B. Films’ strategy remains a crucial factor. In the past year, media consumption trends have shifted towards digital platforms, and P. B. Films, while well-established in traditional media, have yet to adapt aggressively to these new dynamics. The lack of an investment increase in innovative assets such as digital streaming services or expanded media production further highlights this stagnation.

    The entertainment firm’s limited activity in diversifying revenue streams contrasts with industry giants, who are leveraging digital channels for ad revenue and content distribution. This conservative approach might contribute to the lacklustre performance observed.

    For P. B. Films, navigating the remainder of the fiscal year with adaptive financial strategies will be paramount.

  • EU Film Festival workshop inspires with storytelling insights on day three

    EU Film Festival workshop inspires with storytelling insights on day three

    Mumbai: Day three of the European Union Film Festival (EUFF) brought a powerful blend of cinematic storytelling and creativity, captivating audiences in New Delhi. The workshop ‘Character Building in Cinematic Worlds’, led by Lithuanian-American filmmaker Tomas Vengris and Indian novelist-screenwriter Alina Gufran, offered invaluable guidance to aspiring filmmakers, drawing an enthusiastic crowd and inspiring fresh perspectives on narrative creation.

    Organised in collaboration with Unbox Cultural Futures, the workshop focused on character development and narrative depth, essential skills for young, independent creatives. Vengris shared his approach to the theme of identity crisis, a common thread in his films, rooted in his upbringing between Lithuania and the U.S. “When someone struggles with a project, it becomes a huge learning curve. Everything is new and challenging. You finish that project, feel like you’ve got it figured out, and then with the next one, it’s like starting from scratch. That sense of constant reinvention is what makes it so thrilling,” he remarked.

    Gufran, known for drawing from her own experiences in her work, discussed themes like the immigrant experience, interfaith dynamics, and belonging. These personal insights, she explained, shape her storytelling and provide a window through which she explores complex identities.

    The workshop saw participation from emerging filmmakers, young creatives, and film students, all eager to deepen their storytelling craft.

    Alongside the workshop, Day 3 featured screenings of three acclaimed films: “The Man Without Guilt from Slovenia”, directed by Ivan Gergolet; “Dangerous Men from Poland”, directed by Maciej Kawalski; and “Baan from Portugal”, directed by Leonor Teles. Each film resonated deeply with the Delhi audience, receiving warm applause and appreciation.

    The 29th European Union Film Festival will continue in New Delhi until 16 November 2024, showcasing a diverse lineup of films from across Europe.

  • Balaji Telefilms hires Arha Media executive Nitin Burman

    Balaji Telefilms hires Arha Media executive Nitin Burman

    MUMBAI: It’s an aha moment for Nitin Burman. The senior executive has joined Balaji Telefilms as group chief revenue officer effective 11 November 2024. Nitin’s last posting was with Arha Media – which runs the OTT platform Aha. His position there: senior president & head – non-subscription revenue.

    With over 13 years of experience,  he was responsible for Arha’s revenue and creative brand solutions teams and generated revenues through brand solutions, brand studio, AVOD, syndication, You Tube channel and impact properties.

    Prior to that, Nitin worked in telecom and banking industries for almost a decade across multiple functions and geographies. Among the companies he worked for include Airtel and Jio. In the past, he has also worked with Radio Mirchi as director – impact properties and brand solutions for Maharashtra, where he was responsible for revenues in digital, TV properties, concerts, events and activations. 

    Nitin is an electronics engineer with a master’s in business administration from Dauphine University Paris and UBS Chandigarh, Punjab University.  
     

  • JioCinema business head Ferzad Palia to step down from role

    JioCinema business head Ferzad Palia to step down from role

    Mumbai: In a notable shake-up, JioCinema’s business head Ferzad Palia will be stepping down, marking the end of his tenure at the popular streaming platform. Palia’s leadership has been instrumental in shaping JioCinema’s growth trajectory and steering its content strategy. Known for his innovative approach, Palia played a significant role in establishing JioCinema as a competitive force in India’s OTT space.

    During his tenure, Palia worked on key partnerships and content expansions that drove JioCinema’s impressive growth, helping the platform carve out a distinct niche in the entertainment industry. His departure comes at a time when JioCinema is looking to expand its content offerings and further strengthen its user base.

    Palia’s contributions have been crucial, and the industry will be watching closely to see how JioCinema navigates this transition.