iWorld
Eros International Plc to release Andhadhun in Japan on november 15
MUMBAI: – Eros International Plc, a Global Indian Entertainment Company, has announced the planned theatrical release of Andhadhun in cinemas in Japan on November 15th. Andhadhun is an Indian black comedy crime thriller film directed by Sriram Raghavan. The engaging thriller starring Tabu, Ayushmann Khurrana and Radhika Apte was originally released theatrically in India and internationally to widespread critical acclaim. The film was produced by Viacom18 Motion Pictures and Matchbox Pictures and distributed internationally by Eros International.
Andhadhun has already been screened and appreciated by the audience of multiple nationalities and cultures in various parts of the world including China, Korea, Russia and Kazakhastan.
Speaking on the announcement,Eros International Media Ltd Chief Operating Officer Kumar Ahuja said, “Eros Now’s legacy of entertaining the masses with the best of Bollywood films is a well-established territory. We are keen on sharing this exciting & highly captivating narrative with the audience of Japan and hoping they will enjoy and embrace the film it just as much as the viewers did from the other parts of the world.”
iWorld
Micro-Dramas Surge in India, Redefining Mobile Content Habits
Meta-Ormax study maps rapid rise of short-form storytelling among 18–44 audiences.
MUMBAI: Micro-dramas aren’t just short, they’re the snack that ate Indian entertainment, and now everyone’s bingeing between the sofa cushions. Meta, in partnership with Ormax Media, has released ‘Micro Dramas: The India Story’, a comprehensive study unveiled at the inaugural Meta Marketing Summit: Micro-Drama Edition. The report maps how the vertical, bite-sized format is reshaping content consumption for mobile-first audiences aged 18–44 across 14 states.
Conducted between November 2025 and January 2026 through 50 in-depth interviews and 2,000 personal surveys, the research reveals that 65 per cent of viewers discovered micro-dramas within the last year proof of explosive adoption. Nearly 89 per cent encounter the format through social feeds and recommendations, making algorithm-driven discovery the primary engine rather than active search.
Key viewing patterns show a median of 3.5 hours per week (about 30 minutes daily) spread across 7–8 short sessions. Consumption peaks between 8 pm and midnight, with additional spikes during commutes and work breaks classic “in-between moments” that the format fills perfectly. Around 57 per cent of viewing happens in ambient mode (while doing something else), and 90 per cent is solo, enabling more intimate, personal storytelling.
Romance, family drama and comedy lead genre preferences. Audiences show growing openness to AI-generated content, 47 per cent find it unique and creative, while only 6 per cent say they would avoid it entirely. Regional languages are surging after Hindi and English, Tamil, Telugu and Kannada dominate consumption.
Meta, director, media & entertainment (India) Shweta Bajpai said, “Micro-drama isn’t a passing trend, it’s rewriting the rules of Indian entertainment. In under a year, an entirely new category of platforms has emerged, built audience habits from scratch, and created a business vertical that is scaling fast.”
Ormax Media founder-CEO Shailesh Kapoor added, “Micro-dramas are beginning to show the early signs of becoming a distinct content category in India’s digital entertainment landscape. When a format aligns closely with how audiences naturally engage with their devices, it has the potential to scale very quickly.”
The study proposes ecosystem-wide responsibility, universal signposting of commercial intent, shared accountability among advertisers, platforms, creators, schools and parents, built-in safeguards, and formal media literacy in schools.
In a feed that never sleeps and a day that never stops, micro-dramas have slipped into the cracks of every spare minute turning 30-second stories into the new national pastime, one vertical swipe at a time.
