iWorld
Netflix adds ‘Divines’, Anurag Kashyap’s Raman Raghav 2.0 to portfolio
MUMBAI: Netflix has added the critically acclaimed movie Divines to its bouquet at Cannes film festival. The movie will be available to the members exclusively in most of the world later this year.
Described by critics as one of the best young-adult films to come out of France in recent years, the funny, often suspenseful and emotional drama tells the story of Dounia, a tough but naive teenager who sees getting rich or dying while trying as her most viable option. Set in a ghetto near Paris where drugs and religion reign supreme, Dounia is hungry for her share of power and success. Enlisting the help of her best friend, she decides to follow the footsteps of a respected dealer. When Dounia meets a young sensuous dancer, her life takes a surprising turn.
Houda Benyamina’s directorial debut received rave reviews from critics and was awarded the Caméra d’Or, an award at the Cannes Film Festival for the best first feature film of a director. Critics heaped praise on Oulaya Amamra’s “breakout” performance as Dounia.
“We saw Divines before it was award winning, praised by critics and received a standing ovation at Cannes, we immediately recognized it as an extraordinary film and acquired it early on,” said Netflix chief content officer Ted Sarandos. “We’re passionate about bringing our members great films from around the world and thrilled to bring Benyamina’s debut film to our members.”
“Emotions bring people together and are a reflection of society. Thanks to Netflix, Divines will cross borders and the world will be able to enjoy this universal story of love and friendship,” said filmmaker Houda Benyamina. “I am very happy with the collaboration with Netflix.”
Netflix members everywhere, except France, will be able to watch Divines later this year. In France, Divines will not be available on Netflix until 2019 in accordance with French media chronology rules.
Other Netflix acquisitions at Cannes
Netflix aims to bring the best film, series, documentaries and kids programming from around the world. It has already announced the acquisition of Wheelman, which stars Frank Grillo in a film directed by Jeremy Rush that will have a worldwide premiere on Netflix in 2017.
Another Cannes film prize winner Netflix members everywhere can look forward to is French director Sacha Wolff’s Mercenary (Mercenaire). The film tells the story of Soane, a young man of Wallisian origin from New Caledonia, who defies his father’s authority to go and play rugby in France. Left to his own devices on the other side of the world, his odyssey will take him on the path to becoming a man in a world where there is a price to be paid for success.
Other acquisitions from Cannes that Netflix members will be able to watch include:
Raman Raghav 2.0 – A thriller from ace Indian director Anurag Kashyap. Ramanna, a serial killer fascinated by a psychopath from the 60s, and Raghavan, a young policeman, are waging a battle without mercy. But who is really the one being chased?
Aquarius – A drama from Brazilian director Kleber Mendonça Filho centered around Clara, a 65-year-old widow and retired music critic who is the last resident of the Aquarius, an original two-storey building, built in the 1940s, in the upper-class, seaside Avenida Boa Viagem, Recife. All the neighbouring apartments have already been acquired by a company which has other plans for that plot. Clara has pledged to only leave her place upon her death. (Aquarius will be on Netflix in North America, Australia, New Zealand, Asia, Latin America (outside of Brazil) and UK with other regions to be confirmed.)
The Day Will Come – A Danish drama directed by Jesper Nielsen developed and written by Søren Sveistrup, known from hit shows like The Killing. Set in the 1960s, The Day Will Come centers around two inseparable brothers, Elmer and Erik, who are locked in a boy’s home and engage in a battle against the tyrannical Headmaster Heck to set themselves free.
Very Big Shot – feature debut of Lebanese director Jean Bou Chaaya. The comedy deals with brothers Ziad and Joe who run a small but lucrative drug-dealing business out of their takeout pizzeria in one of Beirut’s working-class districts. With their youngest brother Jad about to be released from prison, Ziad and Joe plan to go straight, but their supplier is not keen to see his dealers retire.
Journey to Greenland – A French comedy directed by Sébastien Betbeder. Two thirty-something actors from Paris hit a rough patch and decide to leave the city and fly away to Kullorsuaq, one of the most remote villages of Greenlands. Among the Inuit community, they discover the local customs and their friendship is challenged.
eNews
How short, addictive story videos quietly colonised the Indian smartphone
A landmark Meta-Ormax study of 2,000 viewers reveals a format that is growing fast, paying slowly and consumed almost entirely in secret
CALIFORNIA, MUMBAI: India has a new entertainment habit, and it arrived without anyone really noticing. Micro dramas, those short, cliffhanger-driven episodic stories built for the smartphone screen, have quietly embedded themselves into the daily routines of millions of Indians, discovered not by design but by algorithmic accident, watched not in living rooms but in bedrooms, on commutes and in the five minutes before sleep.
That, in essence, is the finding of a sweeping new audience study released by Meta and media insights firm Ormax Media at Meta’s inaugural Marketing Summit: Micro-Drama Edition. Titled “Micro Dramas: The India Story” and based on 2,000 personal interviews and 50 depth interviews conducted between November 2025 and January 2026 across 14 states, it is the most comprehensive study of the category in India to date, and its findings are striking.
Sixty-five per cent of viewers discovered micro dramas within the last year. Of those, 89 per cent stumbled upon the format through social media feeds, primarily Instagram and Facebook, without ever searching for it. The algorithm did the heavy lifting. Discovery, as the report puts it bluntly, is algorithm-led, not intent-led.
The typical viewer journey begins with accidental exposure while scrolling, moves through a cliffhanger-driven incompletion hook that makes stopping feel unfinished, and is reinforced by algorithmic repetition until habitual consumption sets in. Only then, when a platform asks for an app download or a payment, does the viewer pause. Trust, not content quality, determines what happens next, and many simply return to the free feed rather than pay. It is a funnel with a wide mouth and a narrow neck.
The numbers on consumption tell their own story. Viewers spend a median of 3.5 hours per week watching micro dramas, spread across seven to eight sessions of roughly 30 minutes each, peaking sharply between 8pm and midnight. Daytime viewing is snackable and low-commitment, squeezed into morning commutes, work breaks and coffee pauses. Night-time is where the format truly lives: private, uninterrupted and, for many viewers, socially invisible. Ninety per cent watch alone, compared to just 43 per cent for long-form OTT content. Half the audience watches during their commute, well above the 37 per cent figure for streaming platforms, a direct reflection of the format’s low time investment advantage.
The audience itself breaks into three segments. Incidental viewers, comprising 39 per cent of the total, are passive consumers who stumble in and rarely seek content actively. Intent-building viewers, the largest group at 43 per cent, are beginning to form habits and seek out episodes but remain cautious. High-intent viewers, just 18 per cent, are the ones who download apps, tolerate ads and occasionally pay: skewing male, younger and urban.
What audiences want from the content is revealing. The top three genres are romance at 72 per cent, family drama at 64 per cent and comedy at 63 per cent, precisely the same top three as Hindi general entertainment television. The format rewards emotional familiarity over complexity. Romance in particular thrives because it demands low cognitive investment, needs no elaborate world-building and plays naturally into the private, pre-sleep viewing window where inhibitions lower and emotional intimacy feels safe.
The most-recalled shows, led by Kuku TV titles such as The Lady Boss Returns, The Billionaire Husband and Kiss My Luck, share a common narrative DNA: rich-poor conflict, hidden identities, power imbalances, melodrama and cliffhangers that make stopping feel physically uncomfortable. Predictability, the research warns, is fatal. Each episode must re-earn attention from scratch.
The terminology question is telling. Despite the industry’s embrace of the phrase “micro drama,” viewers have not adopted it. They call the content “short story videos,” “short dramas,” “reels with stories” or simply “serials.” One respondent from Chennai said bluntly that “micro sounds like a scientific word.” The category is at the stage that OTT occupied in 2019 and podcasts in the same year: widely consumed, poorly named and not yet crystallised in the public imagination.
Platform awareness remains alarmingly thin. Only three platforms, Kuku TV at 78 per cent, Story TV at 46 per cent and Quick TV at 28 per cent, have crossed the 20 per cent awareness threshold. The rest languish in single digits. This creates a trust deficit that directly throttles monetisation: viewers who cannot remember which app they used are hardly primed to enter their payment details.
Yet the appetite is clearly there. Sixty-five per cent of viewers watch only Indian content, drawn by the TV-serial familiarity of the storytelling, the comfort of Hindi as a shared language and the sight of actors they half-recognise from decades of television. South languages are rising fast: Tamil, Telugu and Kannada together account for 24 per cent of first-choice viewing. And AI-generated content, still a novelty, has landed better than expected: 47 per cent of viewers call it creative and unique, with only 6 per cent actively rejecting it.
Shweta Bajpai, director, media and entertainment (India) at Meta, called micro drama “a category that is rewriting the rules of Indian entertainment,” adding that the discovery engine being social distinguishes this wave from previous content formats. Shailesh Kapoor, founder and chief executive of Ormax Media, was characteristically measured: the format, he said, is showing “the early signs of becoming a distinct content category” and, given how closely it aligns with natural mobile behaviour, “has the potential to scale very quickly.”
The format’s fundamental mechanics are working. It enters lives quietly, through boredom and a scrolling thumb, and burrows in through incompletion and habit. The challenge now is monetisation: converting a category of highly engaged but deeply anonymous viewers into paying customers who trust the platform enough to hand over their UPI credentials. The story, as any micro-drama writer knows, is only as good as the next cliffhanger. India’s platforms had better have one ready.
