Category: Production House

Red Lorry rolls out with September 5 as opening film at festival

MUMBAI: The Red Lorry Film Festival is shifting into high gear, opening with the critically acclaimed September 5, a tense, true-to-life thriller directed by Tim Fehlbaum. Hosted by Bookmyshow, India’s premier international film festival will set the stage with this Academy Award-nominated film that dives into one of modern media’s most tension-filled moments, the 1972 Munich Olympics hostage crisis.

Blurring the lines between history and cinema, September 5 reconstructs the gripping real-time coverage by Abc Tv, transporting audiences straight into the nerve-wracking newsroom that found itself reporting on an unfolding tragedy. Featuring a stellar cast including John Magaro, Leonie Benesch, Peter Sarsgaard, Ben Chaplin, and Benjamin Walker, the film seamlessly integrates archival footage, bringing an unparalleled level of authenticity to the screen.

“September 5 is a testament to human resilience and the power of storytelling. Opening the Red Lorry Film Festival with such a film reflects our vision of curating globally significant narratives that inspire and challenge audiences,” said Bookmyshow COO for cinemas Ashish Saksena.

Beyond September 5, the festival’s stellar lineup promises a cinematic feast with contemporary award-winning films like Anora and The Last Showgirl, timeless classics like Pretty Woman, Karz, and Qayamat Se Qayamat Tak, and premieres fresh from the Berlin Film Festival. With over 120 films spanning languages, genres, and cultures, this year’s festival expands its footprint with Red Lorry: Take 2 in Mumbai and the all-new Parallel Verse in Hyderabad.

Running from 21 to 23 March 2025, the festival invites cinephiles to book their tickets exclusively on Bookmyshow, starting at Rs 750. With a promise of unforgettable storytelling, the Red Lorry Film Festival, powered by Bookachange, continues its mission of empowering emerging artists and celebrating the transformative power of cinema.

March 12, 2025
Another one bites the VFX dust: Jellyfish Pictures ceases operations

MUMBAI: In a shocking turn of events, UK-based VFX and animation powerhouse, Jellyfish Pictures, has suspended its global operations temporarily. This news comes close on the heels of the recent downfall of Technicolor group, casting uncertainty on the future of the AVGC sector at large.

Speaking exclusively to Animation Xpress, a senior source from Jellyfish Pictures India confirmed that the company has been grappling with investor-related issues in the UK. As a result, the management has decided to halt operations temporarily rather than risk leaving employees in the dark about the company’s uncertain future. The studio has assured staff that salaries for March will be paid, with the workforce being notified promptly about the situation. Click here to read the full news item on ours sister publication AnimationXpress.com

March 11, 2025
Minikin DGWorks: The powerhouse redefining digital content production

MUMBAI: The digital world moves fast, blink and you might miss the next big thing. But Minikin DGWorks isn’t here to play catch-up. It’s here to lead. The new-age production house, a sister concern of the acclaimed Chrome Pictures, is rewriting the rules of digital storytelling, crafting content that doesn’t just entertain but connects in the ever-evolving digital landscape.

Co-founded by Aleya Sen, Amit Sharma, and Hemant Bhandari, Minikin DGWorks is a vibrant, high-energy production house that blends the artistry of traditional advertising with the infinite possibilities of AI-driven content creation.

Aleya Sen, Co-founder, explains the vision behind the venture, “Minikin is all about embracing the excitement of the new-age technological shift, blending traditional advertising with the possibilities of the digital and AI era. We recognize that the world is at the threshold of a major civilizational shift, where the lines between the old and the new are blurring under every department. Hence, we’re here to explore, evolve, and push boundaries, shaping the future of advertising as we navigate this transformational change.”

Minikin DGWorks isn’t your run-of-the-mill production house. It’s a collective of sharp, tech-savvy minds, bringing together a panel of freelance directors handpicked for their expertise in storytelling, VFX, animation, and stylised content. The production team is built for quick turnarounds, high-impact execution, and bold creative choices—because in the digital era, speed and quality are non-negotiable.

Since launching, Minikin DGWorks has collaborated with major brands, including Google, Make My Trip, HDFC Life, Tanishq, Pepsi, Flipkart Minutes, Bajaj Allianz, Saregama, Airtel, Snapdeal, Goibibo, ICICI Bank, Maruti Suzuki, and Acko India. Not stopping there, the company has worked with some of Bollywood’s biggest names, including Shahrukh Khan, Ranveer Singh, and Deepika Padukone. Their redBus campaign, directed by Mithun R Shaw and produced by Ashish Gole, earned recognition at the Effies Awards 2024 and IAA Awards 2024, cementing Minikin’s reputation for cost-effective, high-engagement video content.

Minikin DGWorks understands that internet-driven content needs to hit differently—no fluff, no fillers, just compelling stories that click with modern audiences. Whether it’s short-form digital films, high-energy commercials, or immersive storytelling for brands, Minikin is always on the hunt for fresh, disruptive ideas.

As the industry steps into a future fuelled by AI, automation, and limitless digital possibilities, Minikin DGWorks is positioning itself at the forefront. With its ethos of staying fresh, real, and constantly evolving, the company is set to redefine digital storytelling for a generation that doesn’t just watch content—they live i

March 10, 2025
Banijay group boasts bumper year 2024

MUMBAI: Entertainment powerhouse Banijay group has posted phenomenal financial figures for 2024, with profits perking up considerably in the final quarter. The firm, flying high after a fabulous fiscal year, smashed its own guidance with a whopping 22 per cent growth in adjusted EBITDA.

The titan tallied total revenue of Euro 4,803 million, up a tidy 10.9 per cent, with momentum mounting magnificently in Q4 with a 14.8 per cent surge. Adjusted EBITDA jumped by 21.6 per cent to Euro 900 million, with a particularly powerful performance in the final quarter, rocketing up by 32.8 per cent.

Margins moved up markedly by 160 basis points to 18.7 per cent compared to 2023, while adjusted net income climbed by 29.3 per cent to Euro 418 million. The company’s coffers are considerably healthier, with a cash position of Euro 482 million and leverage ratio trimmed to 2.9x (down 0.2x since December 2023).

Shareholders can smile at a suggested dividend of Euro 0.35 per share, equating to 35 per cent of adjusted net income.

CEO François Riahi remarked that since listing three years ago, Banijay has increased revenue by 37 per cent and adjusted EBITDA by 50 per cent, with streaming content revenues doubling, as has the number of unique active players.

Despite industry headwinds hampering the first half, Banijay’s content production and distribution division delivered revenue of Euro 3,348 million, up by a slim but significant 0.5 per cent. The final quarter finished with flair, showing a 6.7 per cent rise thanks to major scripted show deliveries.

Content production revenue specifically stood at Euro 2,615 million, down 2.8 per cent compared to 2023, but bounced back brilliantly with a 6.2 per cent boost in Q4. Content distribution dipped by 1.5 per cent to Euro 397 million in 2024, but rebounded robustly in Q4 with a 33.2 per cent increase.

“Banijay group enjoyed a record year in 2024,” said Riahi. “Even in a challenging global content prouction market, we continued to see strong demand – especially from streaming platforms – for our iconic brands and deep content catalogue as the number one European studio for scripted content and a world leader in global format launches.”

The streaming success story continued with top-performing titles including Like Water for Chocolate, which ranked first among Spanish-language content on HBO Max, while Supersex, La Vita che Volevi and The Law According to Lidia Poet dominated Netflix’s top four scripted titles in Italy during H1.

Banijay maintains its mantle as the number one studio worldwide for global format launches. Six legacy formats ranked among the top 20 most-traveling TV formats globally, including Deal or No Deal (#2), MasterChef (#4), Big Brother (#6), Survivor (#7), Minute to Win It (#11), and The Money Drop (#14).

The company’s catalogue has expanded enormously, growing by more than 20,000 hours over the year to reach 207,000 hours of content, a 12 per cent increase compared to 2023.

Live experiences & other revenue rose remarkably by 42 per cent to Euro 336 million, driven by robust growth from brand licensing and the full-year contribution of Balich Wonder Studio. Throughout 2024, Balich Wonder Studio produced 119 shows including the opening ceremony of Euro 2024 in Munich and the Uefa Champions League in London. Cultural conquests included the award-winning Viva Vivaldi: The Four Seasons Immersive Concert in Verona and the 400th edition of the Festino di Santa Rosalia, which attracted more than 350,000 spectators.

The Independents impressed with 642 shows including the Vogue Festival in Paris and Spring/Summer 2025 runway shows for luxury labels like Christian Louboutin and Khaite.

Post-year developments include the January 2025 acquisition of Lotchi, a French producer of immersive experiences combining architecture with video-mapping, light and classical music. February saw the launch of Banijay Live Studio, set to create cutting-edge out-of-home entertainment experiences with a “Black Mirror” project already underway.

The online sports betting and gaming division delivered dazzling results, with revenue racing ahead by 45.4 per cent to Euro 1,456 million and an exceptional Q4 performance showing 49.3 per cent growth.

Online sportsbook revenue rose by 48.4 per cent to Euro 1,144 million, while online casino, poker and turf grew by 35.5 per cent to Euro 311 million. The betting business bagged market share across all products and territories, enjoying a 37 per cent increase in unique active players compared to 2023.

The division debuted a fully redesigned sportsbook app and launched a new proprietary poker platform in December 2024. The group strengthened its responsible gaming policy, with 99 per cent of its online sports betting & gaming revenue generated in locally regulated markets in 2024.

Looking forward, Banijay forecasts further fiscal fortunes in 2025:
* Mid-single digit growth for content production, distribution and live experiences
* Mid-teens growth for online sports betting and gaming
* Mid-to-high single digit growth in adjusted EBITDA, despite a Euro 20 million hit from higher betting taxes in France (effective from 1 July 2025)
* Adjusted free cash flow of approximately 80 per cent of adjusted EBITDA

Riahi, announced that several board members, including himself, will be purchasing shares in the company – a vote of confidence in future growth.

“Banijay Group’s value proposition in the entertainment industry is unique,” Riahi concluded. “We have a clear track record of performance, and we aim to expand our free float and stock liquidity so that shareholders can benefit from the value we are creating.”

March 10, 2025
Jio Studios dominates 2025 with Sky Force success and OTT power moves

MUMBAI: If 2024 was a cinematic knockout, then 2025 is already shaping up to be a content juggernaut for Jio Studios. After delivering a string of smash hits last year-including Article 370, Laapataa Ladies, and Shaitaan, plus record-breaking blockbusters like Stree 2 and Singham Again-Jio Studios has wasted no time in kicking off 2025 with a bang. The momentum continued with the Sky Force release, which soared at the box office and received glowing reviews.

Jio Studios isn’t just ruling the big screen—it’s also dominating the OTT space. The studio has already dropped eight major releases across digital platforms, ensuring there’s something for everyone.

Among the early 2025 highlights:

. Mrs. – A bold and conversation-sparking film on Zee5

. Dhoom Dhaam – The ultimate binge-watch on Netflix

. The Storyteller – A masterful nod to Satyajit Ray’s cinematic legacy

. Kaushaljis vs Kaushal – A heartfelt exploration of second chances in love on JioHotstar

These titles aren’t just topping streaming charts—they’re also leading Ormax reports, proving that Jio Studios isn’t just creating content; it’s setting the benchmark.

As Jio Studios continues to push creative boundaries, audiences can expect a packed year of high-quality, genre-defying content. With eight plus titles already launched and more in the pipeline, the studio is doubling down on its commitment to delivering fresh, diverse, and engaging stories to audiences everywhere.

March 4, 2025
Eros Media World clears $56 million debt, strengthens financial position

MUMBAI: Eros Media World PLC (EMWP) just hit a blockbuster financial milestone—becoming debt-free in India. Over the past three years, the global Indian film entertainment powerhouse has successfully repaid its outstanding bank debt, including principal and interest, totalling approximately $56 million at current exchange rates.

At its annual general meeting on 28 February 2025, the company’s Indian subsidiary, Eros International Media Ltd (EIML), confirmed to shareholders that the full repayment had been completed during Q3 of the 2024-25 fiscal year. This financial feat follows EIML’s successful implementation of its debt resolution plan under the Reserve Bank of India’s “Resolution Framework for COVID-19 Related Stress” circular, introduced on 6 August 2020. Notably, EIML had first announced the implementation of this plan on 22 June 2021, covering an aggregate debt of Rs 468.07 crore at the time.

This achievement isn’t just about numbers—it’s a game-changer for Eros Media World’s financial stability. With a clean slate, the company now has greater flexibility to invest in its strategic priorities, expand its global footprint, and double down on high-quality content production.

“With the successful repayment of our bank debt in India, we have significantly strengthened our financial health, reinforcing our long-term commitment to financial discipline. This achievement allows us to focus on growing our entertainment business and unlocking new opportunities for value creation,” said Eros Media World PLC director Kishore Lulla.

With India’s debt burden off its books, Eros Media World can now channel resources into growth, innovation, and content development. The company remains committed to producing premium entertainment and pushing boundaries in the global entertainment industry.

As streaming wars heat up and the demand for high-quality content skyrockets, Eros Media World stands well-positioned to leverage its strengthened financial footing for bold new ventures.

March 3, 2025
Technicolor India team not given funds to pay salaries: Biren Ghose, India head

MUMBAI: In a devastating blow to India’s animation and visual effects industry, Technicolor India has left thousands of employees unpaid for February 2025 and facing profound uncertainty about their future.

During an online town hall meeting held presumably on Wednesday, a visibly tense Technicolor India head Biren Ghose delivered the shocking news, revealing that he himself and other senior local leadership had been entirely blindsided by the decision, learning of it only when they received an unexpected email from the company’s global CEO that morning. (The townhall video has been leaked online on YouTube.)

Ghose methodically explained the structural relationship between Technicolor India and its parent company, emphasising that the Indian division functions exclusively as a global delivery centre.

“We operate solely as a production hub for Technicolor’s international sites while Paris headquarters maintains absolute control over all corporate functions—finance, accounting, payables, technology, HR and all the backbone functions of the organization,” he stated. This arrangement, he clarified, meant that “India works and delivers for our various global sites. They are our customers; they deal with our clients world over, we deliver to them, we invoice them, and they pay us,” underscoring the fundamentally dependent nature of the Indian operation.

In what appeared to be an attempt to distance himself from responsibility, Ghose revealed that despite what he characterised as persistent, diligent and increasingly urgent requests to corporate headquarters for operating funds over a period of several months, the parent company has categorically refused to release any money to the Indian operation.

“Unless headquarters releases these funds, we will not be in a position to pay salaries or other dues which are quite significant across the company in India,” he said. “We have all been impacted by this like everyone else on this call.”

The immediate practical consequences for employees are severe and multifaceted. The company’s offices have been rendered completely inoperative, with all staff instructed to work from home while protracted negotiations continue with landlords about the future of their premises. In a particularly distressing development for employees who left personal belongings at their workstations, they have been explicitly instructed not to attempt collection until further notice from the facilities team, who plan to coordinate access on a floor-by-floor basis at some unspecified future date.

In what numerous employees later described as the most contentious and troubling moment during the town hall, Ghose appeared to issue a thinly veiled warning against potential legal action.

“I cannot be held financially responsible as your management team and leader in India,” he stated emphatically. “However, whatever action you take can work against finding any solutions through our conversations with clients and potential partners. I am not promising we will find any, but if you don’t function as a team, we don’t function as a team, we could drive away potential solutions.”

This statement was widely interpreted by attendees as an attempt to discourage employees from pursuing legitimate legal remedies.

While repeatedly acknowledging the trauma experienced by staff and referring to the affected workforce as “best in class talent,” Ghose offered little in the way of concrete assistance beyond saying the company’s HR team has committed to providing documentation and support to help employees find new positions elsewhere.
“It is unfortunate that this has happened to the best in class talent,” he remarked, in what many employees felt was a grossly inadequate response to their dire circumstances.

The abrupt cessation of operations has left employees not only without February salaries but also facing uncertainty regarding provident fund contributions, and other statutory entitlements. Industry observers note that this sudden closure raises profound questions about Technicolor’s global financial health, corporate governance practices, and ethical commitment to its Indian workforce. The situation has sent shockwaves through India’s animation and VFX community, which had long viewed Technicolor as a stable and prestigious employer.

For thousands of skilled professionals who now face abrupt career disruption and immediate financial hardship with no advance warning, the company’s handling of the situation appears to constitute a significant breach of trust, leaving many questioning whether they will ever receive their rightful compensation for work already performed. Online chat rooms feature employees venting out their frustration at what they called being “cheated.”

February 27, 2025
Tania Missad takes the helm as EVP, insights & strategy at Sony Pictures

MUMBAI: Hollywood just got a little more data-savvy, and Sony Pictures Entertainment (SPE) is leading the charge. Tania Missad, an industry veteran with a stellar track record spanning Warner Bros, Mattel, J&J, and P&G, has stepped into her new role at Sony Pictures Entertainment as executive vice president – insights, strategy & analytics.

Missad now spearheads the TV production insights & audience strategy teams for US & International TV productions, kids, game shows, and unscripted TV divisions. But this isn’t just another promotion—it’s a game-changing integration of Sony’s data solutions team with its TV production division, putting data, machine learning, and business intelligence at the core of decision-making.

Under Missad’s leadership, her team will leverage advanced analytics, data science, large language models (LLMs), neural networks (NNs), business intelligence visualisation, and data hygiene management. Missad expressed her enthusiasm for the role, stating, “Excited to continue to lead the amazing TV production insights & audience strategy teams for our US & Int’l TV productions, kids, game shows & unscripted TV divisions. This newly expanded remit involves joining our data solutions organisation with our TV Production team, which is a game-changer for audience centricity & data-informed strategy at SPE.”

Missad’s role isn’t confined to one corner of Sony Pictures. She will collaborate with multiple key divisions, including worldwide TV distribution & home entertainment, The Fandom Network, IT, and MPG/Features. This cross-functional integration will ensure Sony’s storytelling strategy aligns with evolving audience behaviour and cutting-edge analytics.

With a career spanning top entertainment and consumer brands, Missad has become a leader in audience insights and data-driven strategy. Before joining Sony, she was at Warner Bros. Discovery as global head of corporate research, managing data science and consumer insights for major franchises like Harry Potter and DC. She previously held leadership roles at Mattel, Johnson & Johnson, and P&G, shaping strategies for brands like Barbie and Neutrogena.

Missad’s strength lies in blending qualitative research, data modelling, and business intelligence. At WarnerMedia, she led insights for HBO Max Kids and Warner Bros. Animation, fusing analytics with storytelling. Now, at Sony, she aims to redefine entertainment through audience-driven, strategic innovation.

February 27, 2025
Technicolor group’s VFX pioneer The Mill closes as creative team joins new venture – Variety report

MUMBAI: Technicolor group outfit, visual effects studio, The Mill has closed its doors after 35 years of operation, with its US creative team promptly establishing a new venture called Arc Creative in partnership with Dream Machine FX, Variety has reported.

The closure, which took effect on Monday, comes amid ongoing financial difficulties at parent company Technicolor, which has begun shutting down parts of its business. More than 100 artists from The Mill US issued a joint statement to Variety expressing their shock but ultimate resolve to continue their creative legacy.
“While The Mill as we know it has shut its doors, its spirit, its passion, and its legacy live on through its amazing and talented people,” the statement read.

Arc Creative will focus primarily on short-form work including advertising, game cinematics and trailers. The new venture’s leadership includes former Mill US executive creative directors Robert Sethi and Gavin Wellsman, alongside managing directors Angela Lupo and Anastasia von Rahl.

Dream Machine FX chairman David Li told Variety: “We have always held The Mill in the highest regard and the shutting of its doors is a sad day for the entire industry.”

Founded in London in 1990, The Mill earned numerous industry accolades including Cannes Lions, Clios and Visual Effects Society Awards. The studio was also the lead VFX house for “Gladiator,” which won the Academy Award for Visual Effects in 2000.

The team is currently working to secure office space in Los Angeles and New York.

February 24, 2025
Nandini Singh: bridging the worlds of Indian and Korean entertainment

MUMBAI: Veteran television executive Nandini Singh is burning the midnight oil these days, but not just for business. As executive consultant at CJ ENM, South Korea’s entertainment powerhouse, Singh is not only driving market expansion in India but also mastering the intricacies of the Korean language. Guided by her dedicated colleague and boss, Seb Dohyun Kim, she engages in late-night lessons in Hangul, fully immersing herself in the cultural world she now represents.

Her new role is a dream come true.

“From K-drama to more K-drama!” she exclaims. “Joining CJ ENM was like stepping into my dream Korean drama company.”

Singh’s position at the global entertainment giant places her at the forefront of bridging the gap between two entertainment-loving nations, introducing Korean storytelling to Indian audiences on a grand scale. Beyond television, she is embracing all aspects of Korean culture—content, cosmetics, cuisine, and K-pop—bringing a new wave of Hallyu to India.

Singh’s illustrious career spans over two decades, during which she has played a pivotal role in shaping India’s television landscape. Before joining CJ ENM in August 2024, she spent 18 years at Disney Star, where she held several leadership roles.

As general manager, she spearheaded a remarkable turnaround for a regional channel Star Pravah in Maharashtra, increasing its market share from 13 per cent to 52 per cent and driving revenue growth sixfold.
In 2018, she led the launch of Star Bharat, Disney Star’s first free-to-air channel, crafting a brand identity rooted in national pride. The channel quickly became a household name, establishing itself as India’s leading urban and rural entertainment brand within just eight months.

Her tenure at Disney Star also saw her driving the growth of a portfolio of six English-language channels, overseeing sales, marketing, content acquisition, and partnerships with Hollywood studios. As Business Head of Star Movies, she launched the premium offering Star Movies Select HD in 2015, targeting India’s top-tier households and redefining Hollywood content consumption in the country.

Earlier in her career, Singh played a crucial role in programming strategy for Star Plus, aligning sales, acquisition, marketing, and communication to relaunch the brand in 2010. Her strategic approach to slot management boosted non-original programming viewership by 40 per cent, earning her the prestigious ‘Star Achiever’ award that year.

Her expertise extends to advertising sales, where, as Vice President of Sales, she developed long-tail sales strategies for regional channels, bringing in 40 new clients from sectors including FMCG, education, and real estate. She also pioneered ‘Star Scribble,’ an online sales training programme, which achieved a 99 per cent completion rate among participants.

Now at CJ ENM, Singh is leveraging her extensive experience to drive market expansion and business development in India. Her deep understanding of consumer behaviour, honed through years of research and media planning at Mindshare and Disney Star, positions her perfectly to bridge the gap between Korean content and Indian audiences.

Her transition from Indian dramas to Hallyu appears seamless, given her track record in handling diverse entertainment markets. Singh’s success in managing English-language channels catering to India’s elite households has given her a unique ability to make foreign content relatable to Indian audiences—a skill that will prove invaluable in her new role.

The perks of her position extend beyond just television content. “The best part is getting access to all things Korean—content, cosmetics, food, K-pop,” Singh shares, highlighting the cultural immersion that comes with the job.

As she embarks on this exciting journey, Singh remains committed to her mission of making high-quality Korean entertainment accessible to a wider Indian audience. With late-night language lessons and a growing passion for Korean culture, she is not just working to bring K-dramas to India—she is fully embracing the world of K-content herself.

Her late-night Korean language sessions with Kim symbolise a broader shift in global media consumption patterns, where cultural boundaries are increasingly blurred, and Asian content continues its march onto the world stage.

February 20, 2025