iWorld
Focus shifts to online streaming for Eros
Mumbai: Production and distribution company Eros International no longer wants to be a film studio but a digital content company.
Listed on the BSE as well as the NYSE, Eros is reducing its dependence on box office and is focussing on its online video streaming platform Eros Now instead. “Over the last two and a half years, Eros Now has tripled in growth. About 25% of our overall revenue comes from digital platform and in three years, digital will be three quarters of our revenue. We are moving on from being a film studio to a digital company,” said Jyoti Deshpande, group chief executive officer at Eros, which aims $260-270 million revenue this financial year.
Launched in 2014, Eros Now has 3.7 million paying subscribers, which the company expects to touch 6-8 million by March. Eros Now charges Rs 50 a month for streaming content and Rs 100 a month for downloading and watching the content offline. The company has commissioned six films which will be released directly on Eros Now.
As part of its strategy, Eros, which produced movies such as comedy drama Shubh Mangal Saavdhan, Rajkumar Rao-starrer Newton and Amole Gupte-directed Sniff in 2017, is now only investing in films which are low cost, have a high return on investment and are suitable for digital platforms.
Although the platform is film-heavy with Eros’s library, the company is working on launching one or two digital series every month. “We are doing a series on human trafficking starring Radhika Apte. We are also working on a comedy one,” said Deshpande.
Revenue from domestic theatrical releases saw a 1.6% decline in 2016 to Rs9,980 crore, down from Rs10,140 crore in 2015, according to the Indian Media and Entertainment Report 2017 released by lobby group Ficci and consulting firm KPMG, in March. The number of movies that were able to record a positive return on investment also declined from 27 in 2014 to 18 in 2016.
“On an industry level, the charm of big budget films with star cast appeal is going away as no such project is making money. Even the films which have been declared hit, there is nothing in the profit and loss accounts, when you actually look there. We were one of the first companies to call the trend,” added Deshpande.
Earlier this year, Eros suffered a brief liquidity crisis ahead of the maturing of its $85 million revolving credit facility (RCF) on 31 March. Standard and Poor’s (S&P) had lowered its long-term corporate credit rating on Eros International to “B-” from “B+” and placed it on credit watch with negative implications. The company, however, won a last-minute reprieve from creditors by executing documentation to extend the maturity of the RCF by six months.
iWorld
WPP Opendoor and Snapchat launch AI Lens for Prime Video India
Generative AI Lens personalises content discovery with real-time user integration.
MUMBAI: In the age of main characters, Prime Video is handing users the script and the spotlight. WPP Opendoor, WPP’s dedicated Amazon unit, has teamed up with Snapchat to roll out an India-first generative AI-powered Lens for Prime Video’s latest campaign, ‘Stories for Your Every Era… it’s on Amazon Prime’. The activation taps into the rising “era-core” trend, where identities shift with moods, moments and mindsets and content is expected to keep up.
The Lens does exactly that. Using generative AI, it places users directly into the worlds of popular Prime Video titles such as Maxton Hall, Beast Games, The Boys and The Traitors, embedding their faces into key visuals in real time. The result is less browsing, more becoming.
The idea is rooted in a behavioural shift: audiences increasingly see themselves as the centre of their own narratives, especially on social platforms. By turning viewers into participants, the campaign blurs the line between content discovery and content experience.
It also introduces a layer of personalisation that goes beyond algorithms. Whether someone identifies with a “trust no-one era” or an “infinite aura era”, the Lens curates recommendations that align with that evolving identity making discovery feel intuitive rather than instructed.
This marks a shift in how streaming platforms approach engagement. Instead of pushing titles, the focus is on pulling users into the story itself transforming passive scrolling into interactive storytelling.
The collaboration also underscores how platforms like Snapchat are becoming key playgrounds for content marketing, particularly when paired with emerging technologies like generative AI. The format is native, immersive and built for participation three things traditional discovery often struggles to deliver.
In a crowded streaming landscape, where attention is the real currency, Prime Video’s bet is clear, if viewers feel like the story is about them, they are far more likely to press play.
