Hindi
Multiplex strike scripts Adlabs’ Q1 net loss
MUMBAI: Put to financial stress by the row with film producers, multiplex operators have posted dismal first-quarter performances. With PricewaterhouseCoopers estimating the total loss of the Indian cinema industry during the strike period – which consumed 80 per cent of the quarter – at Rs 3.5 billion, the listed multiplex companies are slipping into the red.
After Cinemax, which suffered a net loss of Rs 5.8 million for the quarter ended 30 June, the next to feel the pinch is Adlabs Films.
The Reliance ADAG company has posted a consolidated net loss of Rs 636.96 million for the quarter ended 30 June, as against a net profit of Rs 23.24 million a year ago.
The company has clarified that this quarter is not comparable with “any period” on account of the deadlock between the producers, distributors and exhibitors on several issues “due to which there were no new Hindi movie releases for 80 per cent period of the quarter.”
Consolidated net revenue stood at Rs 1.05 billion, down 54.23 per cent. The company also posted negative EBITDA from operations at Rs 90 million for the quarter under review.
Adlabs curtailed its expenses by 34.78 per cent to Rs 1.48 billion, down from Rs 2.27 billion in the prior-year quarter.
Theatrical exhibition business suffered the worst blow with operating loss standing at Rs 298.88, compared to an operating profit of Rs 8.47 million in the first quarter of FY‘09. Revenue from this segment was Rs 708.73 million, down from Rs 776.86 million. The capital deployed in the segment is Rs 10.32 billion.
The film production and distribution segment took a hit in operating profit as it reduced to Rs 12.80 million, from Rs 109.16 million in the same quarter of the previous fiscal. Revenue dipped to Rs 70.81 million (from Rs 693.02 million).
In the film facilities business, operating profit declined to Rs 15.08 million, from Rs 100.46 in the prior year, due to paucity of film releases. The revenue in the segment fell marginally to Rs 288.89 million, as against Rs 299.09 million in the year-ago period. The segment employed a capital of Rs 3.33 billion.
Buoyed by a sharp recovery in July with movie screenings returning, Adlabs expects the momentum to continue for the rest of the fiscal. Says Adlabs CEO Anil Arjun, “It is very encouraging that movies released thereafter (post strike) have seen a strong box office. The line-up of movies for the remaining year is strong and we except the performance of July to be maintained through the year. Adlabs has made strategic investments and scaled up business operations. We expect to benefit from the strong momentum in the film and media industry.”
Hindi
New labour codes reshape rules for India’s media & entertainment sector
EY masterclass highlights unified framework, wage redefinition and expanded coverage.
MUMBAI: The new labour codes just rewrote the rulebook for India’s media and entertainment industry because when four old laws become four big codes, even the fine print needs a director’s cut. At the FICCI-EY Media & Entertainment Industry Report launch, EY partners Nirali Goradia and Lakshmi Ranganathan delivered a detailed masterclass on how the labour codes implemented in November 2025 are fundamentally changing the sector. The four consolidated codes Code on Wages, Code on Social Security, Industrial Relations Code, and Occupational Safety, Health and Working Conditions Code have replaced a fragmented set of central and state regulations that existed for decades.
The speakers explained that the new framework brings consistency across all types of establishments and workers. Previously, cine-workers, journalists and other media professionals were governed by separate, narrow laws. Now, definitions have been broadened: “audio-visual worker” now covers everyone involved in film, television, OTT, broadcasting and digital content creation, while “working journalist” extends to digital news platforms.
Key changes include:
- A uniform definition of wages, with at least 50% of total remuneration needing to qualify as wages for calculations like provident fund and gratuity.
- Expanded social security coverage for gig workers, platform workers and project-based freelancers.
- Unified working conditions, safety norms and leave entitlements.
- Simplified compliance through digital filings and a more principle-based approach.
Nirali Goradia emphasised that the codes aim to bring gig workers, freelancers and project-based talent under the social security net, though the exact contribution mechanism for platform workers is still being finalised. She noted that the intent is clear: no worker should be left out of basic protections such as provident fund, ESI, gratuity and safety standards simply because of the nature of their engagement.
Lakshmi Ranganathan highlighted that establishments in the sector must now carefully map their workforce—permanent employees, fixed-term contracts, freelancers and gig workers because different categories attract different obligations. She pointed out that gratuity vesting for journalists remains at three years, but the broader wage definition will impact calculations across the board. Organisations that previously computed contributions on basic salary (often 35-40%) will now need to move to at least 50% of total wages, potentially increasing costs by around 10% on a recurring basis. This change applies retrospectively for gratuity valuation as well, creating immediate balance-sheet implications for many companies.
The panel also discussed how the Occupational Safety, Health and Working Conditions Code has expanded the definition of “manufacturing process” to include digital printing and related activities. This brings more workers under safety and working-condition norms that were previously limited. Additionally, the codes introduce a clearer framework for fixed-term employment contracts, offering organisations flexibility while ensuring such workers receive benefits similar to permanent employees, including gratuity after one year.
One area still evolving is the treatment of platform and gig workers. The Social Security Code recognises this new category, but the exact funding mechanism and contribution structure are awaited. Industry experts expect a dedicated fund where platforms and employers will contribute, from which benefits can be extended to gig workers. Until the schemes are notified, organisations are advised to review their existing contractor and freelancer agreements to assess potential future obligations.
Both partners stressed the need for proactive steps. Companies should:
- Reclassify their workforce based on the new definitions of “employee” and “worker”.
- Review compensation structures to align with the 50 per cent wage threshold.
- Update contracts, especially for project-based and gig engagements.
- Reassess gratuity liabilities and payroll processes.
- Ensure compliance with expanded safety and working-condition requirements.
The speakers noted that while the codes bring much-needed unification and broader coverage, they also demand careful interpretation. The shift from highly prescriptive rules to a more principle-based regime means organisations must build internal frameworks to apply the codes consistently. This is particularly relevant for the media and entertainment sector, where project-based work, freelancers, short-term contracts and gig-style engagements are common.
In an industry that thrives on creativity and agility, the new labour codes are forcing a rewrite of the fine print. What was once a patchwork of rules is now a unified playbook and for media houses, the real plot twist will be how quickly they adapt to keep talent happy, costs manageable and stories flowing. The next few months, as states finalise their rules and schemes are notified, will be critical in determining exactly how this new framework reshapes hiring, compensation and workforce management across the sector.
