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Tag: Yash Raj Films

  • Netflix rolls the YRF reel worldwide

    Netflix rolls the YRF reel worldwide

    MUMBAI: Lights, camera, nostalgia! Netflix and Yash Raj Films (YRF) hit play on a golden reel of Hindi cinema memories, bringing five decades of cinematic gems to screens around the world. The streaming giant sealed a landmark partnership with India’s iconic studio, opening its vault of classics, blockbusters and heart-throbs for global audiences to binge on.  

    The celebration began with a star-studded line-up. Shah Rukh Khan fans were treated to nine of his biggest hits, including Dilwale Dulhania Le Jayenge, Veer-Zaara and Chak De! India, which dropped on November 1, marking the superstar’s birthday weekend. Salman Khan’s action-packed trio Ek Tha Tiger, Sultan and Tiger Zinda Hai will roar onto Netflix on December 27, his birthday.

    Romance buffs can look forward to November 14, when timeless Yash Chopra classics like Chandni, Lamhe and Silsila begin streaming. Ranveer Singh’s infectious energy arrives on December 5 with Band Baaja Baaraat and Gunday. The festive season gets even brighter with 34 YRF crowd-pleasers, including Hum Tum, Bunty Aur Babli and Mujhse Dosti Karoge, set to stream two at a time between December 12 and 28.

    The reel keeps rolling into 2026, with the Dhoom trilogy revving up from November 28 and the Mardaani series joining on January 22. Valentine’s week will see eight heart-fluttering romances like Saathiya and Bachna Ae Haseeno streaming from February 7.

    “For over 50 years, Yash Raj Films has shaped the heart of Indian cinema,” said YRF CEO Akshaye Widhani. “Bringing this legacy to Netflix lets the world experience the colour, the music and the magic of India.”

    Netflix India vice president of content Monika Shergill added, “This partnership celebrates Indian cinema in all its glory, allowing fans to relive the magic while new audiences discover its timeless charm.”

    Whether you’re chasing Dhoom-style thrills or humming Tujhe Dekha To in your living room, Netflix’s latest drop has turned every night into a Hindi cinema blockbuster.

     

  • T-Series appoints Richa Vaidya as deputy gm

    T-Series appoints Richa Vaidya as deputy gm

    MUMBAI: T-Series has appointed Richa Vaidya as deputy general manager, music marketing, strengthening its creative leadership with a proven entertainment strategist.

    Vaidya joins from JioHotstar, where she led award-winning campaigns for original web series, post-theatrical releases and non-fiction shows across television, digital and outdoor platforms.

    A seasoned marketer with more than a decade in the entertainment business, she has previously held key roles at Yash Raj Films, Everymedia Technologies, and Balaji Telefilms, shaping digital and theatrical campaigns for major Hindi cinema releases.

    At T-Series, Vaidya will oversee music marketing and brand strategy, driving engagement across platforms for one of India’s most powerful entertainment brands.

    Her appointment marks a strategic move by T-Series to blend data-driven insights with creative storytelling, reinforcing its position at the forefront of India’s music and entertainment ecosystem.

  • Yash Raj Films to shoot three major films in UK from 2026, Starmer confirms

    Yash Raj Films to shoot three major films in UK from 2026, Starmer confirms

    MUMBAI: Bollywood is heading back to Britain. Yash Raj Films, India’s leading production and distribution house, has announced plans to shoot three major films across the UK from early 2026, creating over 3,000 jobs and injecting millions of pounds into the local economy, UK prime minister Keir Starmer revealed in Mumbai today.

    The announcement was made at Yash Raj Studios, which marks 20 years of operations in India on 12 October, where Starmer was joined by top UK film representatives, including the British Film Institute, British Film Commission, Pinewood Studios, Elstree Studios, and Civic Studios. The visit forms part of a two-day trade mission aimed at strengthening UK-India ties and boosting creative industry collaborations.

    The UK film sector contributes 12 billion pounds annually and supports 90,000 jobs, attracting international productions with its state-of-the-art studios and iconic landscapes. After an eight-year hiatus, Yash Raj’s return highlights the growing impact of the UK-India trade deal on cultural and creative partnerships.

    “Bollywood is back in Britain, and it’s bringing jobs, investment and opportunity, while showcasing the UK as a world-class filmmaking destination,” Starmer said. “This is exactly the kind of partnership our trade deal with India is designed to unlock.”

    Yash Raj Films CEO Akshaye Widhani added, “The UK has always held a special place in our hearts. Iconic films like Dilwale Dulhania Le Jayenge were shot here, and we are thrilled to reignite our ties with the country that has always supported our creative vision. With the 30th anniversary of ddlj and the stage adaptation Come Fall in Love underway in the UK, this partnership couldn’t be more timely.”

    UK culture secretary Lisa Nandy said, “Given the strength of our film industries and the deep cultural links between our nations, collaborations like this make perfect sense. Bollywood blockbusters filmed in Britain will drive growth, investment and creative exchange.”

    A supporting MoU between the British Film Institute and India’s National Film Development Corporation will further strengthen co-productions, enabling filmmakers from both countries to share resources, talent, and expertise. Past collaborations, such as Slumdog Millionaire, generated around 300 million pounds for the UK from a modest 12 million pounds budget, proving the immense potential of UK-India film ventures.

  • Capping ticket prices could be the blockbuster move India needs

    Capping ticket prices could be the blockbuster move India needs

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

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

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

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

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

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

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

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

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

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

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

  • Licence to thrill as Hoopr smash reshapes India’s music licensing game

    Licence to thrill as Hoopr smash reshapes India’s music licensing game

    MUMBAI: India’s content creators have been grooving without a licence until now. In a game-changing move for the booming creator economy, Hoopr has launched Hoopr Smash, a slick, self-serve music licensing platform that finally lets brands, agencies, and creators use hindi and regional tracks legally and affordably without hitting a sour note.

    This digital-first marketplace is shaking up the copyright jungle by giving creators instant access to music from one of the most iconic catalogues in Indian cinema: YRF Music, with over 1,000 blockbuster tracks. It also ropes in 17 regional labels and over 380 artists, from A.R. Rahman and Vishal-Sheykhar to Badshah, Bohemia, and Jasleen Royal, offering a library of more than 18,000 licensable tracks and counting.

    With India churning out 80,000 branded content pieces and 550,000 creators posting daily, music is often used with more enthusiasm than legality. As per industry estimates, 87 per cent of music use in content is wilfully violating copyright, bleeding the industry of a jaw-dropping Rs 3,600 crore annually. Hoopr Smash wants to plug that leak and fast.

    The platform works like an e-commerce checkout for beats. Users can license a track in under 15 minutes, choosing from bundles or per-track payments. Content is sorted by use case, mood, and moment, think Diwali jingles or wedding reels plus a live ‘Trending Tracks’ feature keeps brands tuned in to what’s hot. Whether it’s a mangalsutra ad or a monsoon campaign, there’s a song for every storyline.

    Commenting on the launch, Hoopr co-founder & CEO Gaurav Dagaonkar said: “As an artist, I have experienced the challenges of India’s fragmented music licensing ecosystem where even my own songs have been used without permission or payment. While brands want to license music the right way, they often find themselves navigating a complex and inconsistent process while trying to license songs. Licensing Bollywood music in particular has often been complicated, with unclear legal pathways and limited access for most brands. With Hoopr Smash, we are addressing this gap by building a transparent, accessible, and efficient platform that simplifies the legal licensing of popular Bollywood songs for all stakeholders. We envision Hoopr Smash becoming the go-to destination for ethical music licensing, empowering brands to create freely and fearlessly, while ensuring artists and music owners receive the value they truly deserve.”

    Adding to this Hoopr co-founder & CRO Meghna Mittal said “Hoopr Smash is designed to address the long-standing issues of Bollywood music licensing. After extensive research with 160 plus brands and agencies, we understood that there were some major pain points volatile pricing, long negotiations, and decentralized clearance processes. Smash eliminates this by displaying Bollywood music-trending updates in real time, offering intelligent track curation, and instant licensing, allowing brands to access popular tracks faster and stay legally compliant. The site offers affordable pricing and a seamless checkout experience, and ensures that artists and labels are dealt with fairly. This is a giant leap in building an open and sustainable music licensing infrastructure in India.”

    Commenting on this unique partnership Yash Raj Films Pvt. Ltd. vice president of digital & new media Anand Gurnani stated, “Hoopr’s technology presents an exciting opportunity for us to expand our reach to long-tail consumers and enhance the accessibility of our music catalogue. This partnership not only provides brands with seamless access to our extensive music catalogue but also streamlines the licensing process, ensuring efficient and compliant usage. We are confident that this collaboration will open up exciting opportunities for responsible brand engagement across short-form formats while helping us connect with wider audiences.”                  

    In a content landscape bursting with reels, remixes, and reaction videos, Hoopr Smash lands as a much-needed remix to India’s outdated music licensing scene. More than a tech tool, it’s a cultural clean-up. By marrying ease, legality, and fairness, Hoopr Smash might just be the soundtrack to a more ethical, efficient content future.

  • Yash Raj Films promotes Hemant Kundnani to sr general manager communications

    Yash Raj Films promotes Hemant Kundnani to sr general manager communications

    MUMBAI:  Hemant Kundnani has been promoted to senior general manager – communications at Yash Raj Films (YRF), one of India’s most prestigious film production companies. The promotion comes after three years of service at the Hindi cinema  powerhouse, where he previously held the position of general manager – communications.

    Kundnani brings industry experience to his elevated role, having previously served as head of marketing at Pooja Entertainment from March 2020 to August 2021. During his tenure there, he oversaw marketing for Bellbottom, notably one of the first film projects globally to complete production during the coronavirus pandemic.

    Before joining Pooja Entertainment, Kundnani spent nearly six years at The Walt Disney Co in increasingly senior positions. He served as senior manager for digital strategy, analytics and alliances at Fox Star Studios (a Disney subsidiary) from December 2016 to March 2020, where he focused on understanding cinema audiences and building data analytics capabilities to optimise marketing expenditure.

    His Disney career began in the interactive division, where as manager of products, marketing and alliances, he spearheaded a global strategic alliance with the International Cricket Council to develop the official game of the 2015 Cricket World Cup. The game achieved the number one position in sports app rankings across India, UK and Australia, garnering one million downloads within three days of release.

    Kundnani’s entertainment industry credentials also include a three-year stint at UTV, where he worked as senior associate marketing for UTV Stars movie channels. During this period, he contributed to the Walk of the Stars  project, described as “a tribute to the big stars of Hindi cinema” and the first attraction of its kind in India.

  • YRF recruits Ketan-O-Rana as sr manager production & post-prod supervisor

    YRF recruits Ketan-O-Rana as sr manager production & post-prod supervisor

    MUMBAI: He’s an alumnus of Amity University where he graduated in  journalism, and Whistling Woods where he completed his film production and direction diploma. 14 years later  Ketan-O-Rana recently  joined YRF – Yash Raj Films  as senior manager production and post production supervisor.

    Along the way he worked in various capacities in companies such as Equinox Films, Balaji Telefilms, Ramesh Sippy Entertainment either in production or creative. NFDC beckoned and he joined it as a creative director for a couple of years until he was called by Dar Motion Pictures as a writer director – once again for a couple of years.

    Bambai Dreams was his next stop, followed by B62 studios where he rose to become post- production supervisor. He had a six month stint working at Mukta Arts where he worked as an associate on Subhash Ghai’s film. He finally went independent founding his own banner Postman Pictures which he ran for 12 years. He then decided may be it would be good to be employed someplace and joined YRF.

    “I’ve spent years on sets where chaos meets creativity, navigating the showdown between vision and reality. Now, as post production supervisor at Yash Raj Films, I leverage my background as an associate director, producer, and screenwriter. I thrive on the details and those fleeting moments that elevate a story—whether it’s crafting explosive action sequences or executing the cut that just hits right. The reel never stops rolling, and I’m committed to making every frame count,” Ketan  said on Linkedin while announcing his appointment at YRF. 

  • YRF partners with Posham Pa Pictures for theatrical releases

    YRF partners with Posham Pa Pictures for theatrical releases

    MUMBAI: It’s the coming together of a successful legacy studio and a new age creative production banner. Yash Raj Films (YRF)  today announced that it is partnering with series producer Posham Pa Pictures to jointly develop and produce theatrical films beginning 2025.  

    YRF is known for several iconic films like Chandni, Kaala Patthar, Lamhe,  Darr, Dilwale Dulhania Le Jayenge, Chak De! India, Dhoom and others. Posham Pa Pictures has been behind streaming series such as Netflix’s Kaala Paani, Mamla Legal Hai and Jaadugar and Disney+ Hotstar’s Home Shanti.

    The partnership marks Posham Pa’s foray into theatrical films releases. YRF will provide it with the studio infrastructure and its strong distribution capabilities, which is the vision of Aditya Chopra – the son of YRF founder, the late Yash Chopra. The transformation of YRF from being just a producer to a studio is being led by the firm’s CEO Akshaye Widhani. 

    Said Widhani: “It is truly the coming together of similar creative minds that are constantly striving for excellence by pushing the content envelope. Posham Pa Pictures have shown that they know the pulse of the audience by giving us unique and incredibly fresh stories that have won them unanimous acclaim. Our partnership will now aim to create ground-breaking theatrical experiences for today’s audiences who are seeking out new and novel storytelling to engage, endorse & celebrate.”

    Posham Pa was founded by partners Sameer Saxena, Amit Golani, Biswapati Sarkar and Saurabh Khanna. 

    “The coming together of YRF and Posham Pa Pictures throws open a world of exciting, unchartered creative possibilities,” said Saxena. “We are thrilled at the opportunity to jointly create theatrical experiences like never before with YRF and entertain the audience with unique, fresh stories.”

    (Picture courtesy: Biswapati Sarkar’s  X account)

  • FICCI FRAMES 2024: From playgrounds to pixels: Evolution and emerging trends in kids entertainment

    FICCI FRAMES 2024: From playgrounds to pixels: Evolution and emerging trends in kids entertainment

    Mumbai: The discussion traced the trajectory of this evolution, examining the impact of technology on content consumption, educational aspects, and the evolving preferences of young audiences. Emphasising the fusion of entertainment and education, the panel delved into the latest trends, such as interactive media, augmented reality, and immersive storytelling, offering valuable insights for creators, educators, and parents alike. The panel aimed to unravel the past, present, and future of kids’ entertainment, navigating the fascinating intersection of play and pixels.

    The moderator of the panel was Powerkids Entertainment CEO Manoj Mishra.

    “The essence of our content has remained consistent since the beginning. While storytelling and content creation have seen minimal alterations, there was a notable shift when I entered the industry. Initially, we relied heavily on foreign content, merely dubbing it for local audiences. However, over time, we began crafting our narratives that resonated more deeply with our audience, particularly children. The fundamental stories haven’t changed; it’s the platforms that evolve continually, and our adaptability has allowed us to broaden our horizons.” : Viacom18 kids TV network business head Anu Sikka.

    “In the future, animation will undeniably continue to hold a prominent position, Drawing insights from diverse channels, including online platforms like Netflix, and learning from the successes of digital endeavors, whether on Netflix or other platforms, we’ve adeptly tailored these achievements to suit the Indian landscape.”: Warner Bros Discovery head, kids network Uttam Pal Singh.

  • FICCI FRAMES 2024: Lights, camera, action: Golden era of storytelling

    FICCI FRAMES 2024: Lights, camera, action: Golden era of storytelling

    Mumbai: This session brought together seasoned storytellers and content creators to unravel the transformative impact of disruptive technologies on narrative formats. Delving into the shift from traditional blockbusters to the era of binge-watching, the panel explores how storytelling has evolved. Participants witnessed a dynamic discussion on changing audience dynamics, emerging platforms, and the innovative strategies employed by storytellers to captivate and engage audiences in an era marked by a constant evolution in entertainment consumption.

    The fireside chat was moderated by Indian critic and journalist Naman Ramachandran.

    “We are here to serve our audience with the most diverse & high-quality content. We find ourselves at an intriguing juncture in our streaming journey. Despite being a nascent industry, it is evolving rapidly, with people adopting it at an exceptionally fast rate.”: Netflix India VP – content Monika Shergill.

    Answering the question about the secret sauce in the theatrical business, Yash Raj Films CEO Akshaye Widhani said, “As an organisation, we don’t punish failure. That is the secret sauce at YRF.”

    Answering the second part of the question on what YRF looks for when commissioning a film or a series, Widhani said, “It is a creative business. Either you go right or wrong, but it’s about the story. The north star for us is the story. We’ve been telling stories for the last five decades and we hope we’ll keep telling stories much after that. When it comes to what we decide on how we decide to greenlight, it’s pretty much based on what that story is and how it appeals to us.”