Film Production
B.A.G Films ties-up with Korean production firm Sieundesign
MUMBAI: Anurradha Prasad’s B.A.G Films is pursuing opportunities in new media avenues and also eyeing the animation frontier. The company has entered into a joint venture with a Korean firm Sieundesign, which has a presence in the production, distribution and licensing of animated movies and TV series.
The JV is proposed to be named “Sieun & B.A.G. Animation Pvt. Ltd.” with both companies holding an equal stake. The business model will involve both creation of IP for global audiences as well as servicing outsourced projects.
Speaking about the development, Prasad shared,“This initiative represents B.A.G. Films’ entry into the exciting and strongly growing animation business. We are delighted to tie up with Sieundesign Co Ltd, which is a leading international animation player and look forward leveraging its experience to building a strong presence in India.”
B.A.G, is already running a media school –iSOMES (International School of Media and Entertainment Studies) and through the new JV, the company will be extending into animation education too.
“We understand that we require a huge work force and so we will be training people as a backward integration excercise. The animation course starts in October,” remarked Prasad.
“As a content company B.A.G films has always stayed at the forefront of cutting edge technology and even in the animation JV, the idea is to create a synergy, a best of both the worlds where we will utilise India’s expertise in animation production and combine it with the Korean strength of concieving characters and content,” concluded Prasad.
Sieundesign presently owns more than 30 IPs of cartoon character content, which include Black Jelly, Booby, Yamm, Newton, Flower Terry, Tomato, 205 Friends, Little Tinny, Mr. Cool, Dear Alice, Dennis Family, Eyeme Angel, Emily, Pumpkin Seed, Oh-Baby, Brambly and Moose Bear besides the children performance Rise Up Monster character development. It also supplies cartoon content to several Korean mobile and on line services.
All animation and character licenses owned by Sieundesign internationally will be owned in India by the joint venture entity.
At the same time, B.A.G. Films is also looking at initiatives including video streaming, DVD, animation and gaming, interactive content for broadband, mobisodes, wireless transmission and the internet, besides identifying new uses for existing technologies such as digital libraries, interactive story telling and distance learning, according to a posting today on the Bombay Stock Exchange (BSE).
The company is also contemplating providing voice content including news, cricket & sports, jokes, astro forecasts, celebrity interviews, Bollywood reviews and music album reviews in four languages namely Hindi, English, Tamil and Malayalam.
B.A.G is already working the major cellular operators Airtel and Hutch on IVR.
On the movie front, the production house proposes to release two films during the current calendar year. Zindagi Rocks, with Sushmita Sen and Shiney Ahuja as the lead actors is directed by Tanuja Chandra with music composed by Anu Malik. Then there is a Punjabi love story directed by Gurbir S Grewal with Jimmy Shergil and Kulraj Randhawa as the lead actors.
Film Production
Balaji Telefilms launches Hoonur, its talent management vertical
MUMBAI: Balaji Telefilms has rolled out Hoonur, a dedicated talent management arm under its digital division, sharpening its push to build an integrated entertainment ecosystem spanning content, platforms and artists.
The new vertical is aimed at structured career development in an industry increasingly driven by digital reach, brand partnerships and multi-platform visibility. Hoonur will focus on long-term representation, strategic positioning and audience engagement for talent across broadcast and streaming formats.
The initiative will be led by Mohammed Nagman Lateef, a talent strategist with more than 11 years of experience, who earlier founded Iconic Entertainment. His appointment signals a more organised, forward-looking approach to artist management within the Balaji Telefilms fold.
Balaji Telefilms joint managing director Ekta Kapoor, said, “At Balaji, we have always believed that every artist deserves the right environment to grow. Talent thrives when it is supported by a platform that understands its individuality and long-term potential. With Hoonur, we are creating a curated space where artists receive focused attention, strategic guidance, and opportunities that are aligned with who they are and where they can go. It’s about shaping meaningful journeys, not just managing assignments.”
Hoonur has already signed a diverse roster of television and digital stars, including Madalsa Sharma, Sahil Uppal, Rohit Chandel, Simba Nagpal, Tejasswi Prakash and Shubhangi Atre.
Several of its artists: Urvashi Dholakia, Ridhi Dogra, Shiv Thakre and Shiny Doshi, also feature in The 50, one of India’s most anticipated new reality television shows.
Balaji Telefilms chief revenue officer Nitin Burman, said the new vertical would enable closer collaboration between content, brands and platforms, placing talent at the centre of long-term partnerships and audience engagement strategies.
With Hoonur, Balaji Telefilms is doubling down on its integrated model, blending content creation, digital strategy and talent representation to shape the next generation of media stars.
Film Production
Ananya Birla steps into cinema with Birla Studios launch
MUMBAI: Ananya Birla is rolling the camera on a new act. The entrepreneur and singer has launched Birla Studios, a film production house pitched at the sweet spot between artistic heft and box-office muscle, as India’s content boom lures fresh capital and ambition.
Based in Mumbai and launched in 2026, the studio sets out to produce high-concept, prestige-driven commercial cinema that pairs broad audience appeal with artistic distinction. The pitch is clear: culturally relevant stories, emotional immediacy and films designed to linger in the mind long after the credits roll.
Birla Studios will champion narratives that spark instant connection while offering long-term resonance. Its mandate blends creative ambition with commercial viability, alongside a stated commitment to nurture new talent and amplify fresh voices across genres.
The venture is rooted in Ananya Birla’s view of cinema as a serious medium of expression and influence, not merely spectacle. The studio positions itself as a platform for meaningful but widely engaging storytelling that mirrors contemporary cultural sensibilities.
“We are all stories. Cinema is one of the most powerful mediums through which those stories are told. At its most powerful, cinema creates an immediate connection while leaving a lasting resonance,” Ananya Birla said. She added that the focus is on curating a slate that balances cultural significance with strong entertainment value, while taking “a conscious stand to nurture new talent, explore genres, and amplify fresh voices and diverse perspectives”.
As the slate takes shape, she noted the “kindness and receptiveness” encountered across the industry, calling it a privilege to play even a small role in taking Indian cinema forward.
The content strategy is deliberately wide. Birla Studios is assembling a multi-language slate spanning Hindi, Gujarati and Malayalam films, alongside international English-language projects. The idea is to travel across regions, languages and borders rather than stay in one cinematic lane.
Genre is no barrier. The studio describes itself as genre-agnostic, backing stories with depth and commercial potential while prioritising craft, scale and careful execution. Details of specific projects remain under wraps, with announcements promised in the coming months.
India’s film business is in flux, with streaming platforms, pan-Indian hits and global audiences reshaping what travels and what sells. Into that churn steps Birla Studios, betting that stories with cultural specificity and universal emotion can do both.
The script, for now, is aspirational. The real test will be on screen. In a crowded market chasing the next big story, Birla Studios wants to make films that do not just open well—but endure.
Film Production
Agnieszka Veriga named VP program management for Apac global experiences at WBD
MUMBAI: Warner Bros Discovery has elevated Agnieszka Veriga, widely known as Aga, to vice president, program management for Apac global experiences, placing her at the helm of the company’s fast-expanding experiences business across the region.
Based in Dubai and working closely with teams across Asia Pacific, Veriga will lead Warner Bros Discovery’s portfolio of owned and licensed experiences. Her remit includes the Warner Bros Studio Tours in Tokyo and Shanghai, alongside shaping the company’s long-term growth strategy for experiences in Asia.
The appointment follows a landmark year in which Veriga worked closely with Sarah Roots to deliver the Harry Potter Studio Tour Shanghai project. Developed in partnership with Chinese hospitality major JingJiang, the project marked a major step in Warner Bros Discovery’s global experiences ambitions and stood out for its scale and complexity.
In her new role, Veriga will partner with Tony Qiu and the regional leadership team, focusing on strong programme delivery, clear governance and close collaboration across markets as the experiences portfolio continues to grow.
Veriga brings deep international experience to the position. Prior to joining Warner Bros Discovery, she served as director, strategic project management and business operations for Asia at Paramount, where she led major transformation initiatives and played a key role in launching Paramount Plus in South Korea and Japan. Her earlier career spans senior strategy and operations roles across Asia, Europe and the Middle East within the Discovery ecosystem and beyond.
Sharing the news, Veriga said she was grateful for the trust and support she has received and excited about what lies ahead. With studio tours and immersive entertainment gaining traction across Asia, her expanded mandate signals Warner Bros Discovery’s intent to scale experiences with precision and pace.
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