MAM
PVR Inox Q2 FY25 results show mixed performance amid strategic changes
Mumbai: PVR Inox has reported its Q2 FY25 financial results, indicating a quarter of mixed performance as the company navigates post-pandemic recovery and strategic adjustments. Revenue reached Rs 16.2 billion, marking a 36.2 per cent increase quarter-over-quarter (QoQ), though it declined 18.9 per cent year-over-year (YoY). This growth was driven by a resurgence in Hindi films and improved footfall, which rose 27.6 per cent QoQ, although occupancy rates remained below pre-covid levels.
The company’s EBITDA stood at Rs 4.7 billion, down 32.2 per cent YoY but up significantly by 90.6 per cent QoQ, with a post-IndAS EBITDA margin of 29.5 per cent. However, net losses persisted at Rs 0.1 billion for Q2 FY25, compared to a Rs 1.7 billion loss in Q1 FY25. Average ticket prices (ATP) and spend per head (SPH) showed growth, increasing 9.4 per cent and 2 per cent QoQ, respectively, signalling steady progress despite challenges.
The balance sheet reflects a cautious but optimistic outlook. Total borrowings declined from Rs 17.9 billion in FY23 to Rs 17.2 billion in FY24, indicating the company’s efforts to reduce debt. Free cash flow turned positive, helping to stabilise liquidity, and cash reserves grew from Rs 3.3 billion to Rs 3.9 billion over the same period. However, with profit margins still tight and interest expenses continuing to rise, sustained improvement in box office performance and cost management will be essential to achieve profitability.
Looking ahead, PVRInox anticipates strong performance during the festive season, driven by major releases such as “Singham Again”, “Pushpa 2,” and “Bhool Bhulaiyaa 3”. The company remains optimistic about reaching a 32 per cent occupancy rate in Q3, supported by a robust content lineup.
AD Agencies
WPP and Ogilvy top the global charts as India joins the creative elite: Warc rankings
A record five-year streak for Ogilvy while India secures a top five global spot
MUMBAI: The global advertising world has a familiar king, but a new powerhouse is gatecrashing the palace. In the latest Warc Creative 100 rankings, the industry’s definitive audit of excellence, WPP has once again been crowned the top holding company. Not to be outdone, its crown jewel, Ogilvy, has secured the top network spot for a staggering fifth consecutive year.
It is a “five-peat” that proves Ogilvy’s creative engine is not just running but purring. While many networks rely on one or two superstar offices to carry the load, Ogilvy’s dominance is a team effort across the globe. Hot on their heels is sister agency VML, which took the silver medal for networks, ensuring a WPP clean sweep at the very top of the podium.
The biggest noise, however, is coming from the East. India has officially vaulted into the top five most creative nations on Earth. Once viewed primarily as a back-office for production, the country is now a front-row leader in imagination. Driven by the brilliance of agencies like Ogilvy Mumbai and Leo Burnett India, the nation is proving that its work does more than just look good on a trophy shelf. In a market where every rupee must work twice as hard, Indian campaigns are blending high-concept artistry with ruthless commercial effectiveness.
The individual accolades saw Heineken toast to success as the top brand, finally knocking Apple off its perch. Unilever remains the world’s most awarded advertiser, proving that big business can still have a big heart through its work for Dove and Vaseline.
The title of the world’s most creative campaign went to Publicis Conseil Paris for their AXA “Three Words” initiative. By subtly adding “and domestic violence” to insurance policies to provide immediate relocation cover, the agency proved that the best advertising doesn’t just sell a service, it provides one.
The 2026 rankings also signal a shift in the industry’s DNA. The era of boring business-to-business marketing is dead, with B2B campaigns cracking the top ten for the first time. Meanwhile, artificial intelligence has moved past the gimmick stage. The winners this year used tech not for the sake of a trend, but to drive genuine human emotion.
Whether it is Paris providing a safety net for the vulnerable or India redefining the global creative order, the message from this year’s Warc rankings is clear. The best work in the world is no longer just about catching the eye, it is about changing the world.
