Hollywood
EU files anti-trust charges against Sky TV & major Hollywood studios
MUMBAI: The European Commission has filed anti-trust charges against Sky UK and six major US film studios namely Disney, NBCUniversal, Paramount Pictures, Sony, Twentieth Century Fox and Warner Bros, accusing them of unfairly restricting customers’ access to content within the European Union.
The Commission takes the preliminary view that each of the six studios and Sky UK have bilaterally agreed to put in place contractual restrictions that prevent Sky UK from allowing EU consumers located elsewhere to access, via satellite or online, pay-TV services available in the UK and Ireland. Without these restrictions, Sky UK would be free to decide on commercial grounds whether to sell its pay-TV services to such consumers requesting access to its services, taking into account the regulatory framework including, as regards online pay-TV services, the relevant national copyright laws.
If the Commission’s preliminary position were to be confirmed, each of the companies would have breached EU competition rules prohibiting anti-competitive agreements. The sending of a Statement of Objections does not prejudge the outcome of the investigation.
EU Commissioner in charge of competition policy Margrethe Vestager said, “European consumers want to watch the pay-TV channels of their choice regardless of where they live or travel in the EU. Our investigation shows that they cannot do this today, also because licensing agreements between the major film studios and Sky UK do not allow consumers in other EU countries to access Sky’s UK and Irish pay-TV services, via satellite or online. We believe that this may be in breach of EU competition rules. The studios and Sky UK now have the chance to respond to our concerns.”
US film studios typically license audio-visual content, such as films, to a single pay-TV broadcaster in each Member State (or combined for a few Member States with a common language). The Commission’s investigation, which was opened in January 2014, identified clauses in licensing agreements between the six film studios and Sky UK, which require Sky UK to block access to films through its online pay-TV services (geo-blocking) or through its satellite pay-TV services to consumers outside its licensed territory (UK and Ireland).
The Commission’s preliminary view as set out in the Statement of Objections is that such clauses restrict Sky UK’s ability to accept unsolicited requests for its pay-TV services from consumers located abroad, i.e. from consumers located in Member States where Sky UK is not actively promoting or advertising its services (passive sales). Some agreements also contain clauses requiring studios to ensure that, in their licensing agreements with broadcasters other than Sky UK, these broadcasters are prevented from making their pay-TV services available in the UK and Ireland.
As a result, these clauses grant ‘absolute territorial exclusivity’ to Sky UK and/or other broadcasters. They eliminate cross-border competition between pay-TV broadcasters and partition the internal market along national borders. The Commission’s preliminary conclusion is that, in the absence of convincing justification, the clauses would constitute a serious violation of EU rules that prohibit anticompetitive agreements (Article 101 of the Treaty on the Functioning of the European Union).
The Commission previously also set out concerns as regards licensing agreements between the film studios and other major European broadcasters (Canal Plus of France, Sky Italia of Italy, Sky Deutschland of Germany and DTS of Spain). The Commission continues to examine cross-border access to pay-TV services in these Member States.
These antitrust investigations focus on contractual restrictions on passive sales outside the licensed territory in agreements between studios and broadcasters. At the same time, broadcasters also have to take account of the applicable regulatory framework beyond EU competition law when considering sales to consumers located elsewhere. This includes, for online pay-TV services, relevant national copyright laws. In this context, in parallel to its actions under EU competition law, the Commission will propose to modernise EU copyright rules and review the EU Satellite and Cable Directive as part of its Digital Single Market Strategy adopted in May 2015. The aim is to reduce the differences between national copyright regimes and allow for wider access to online content across the EU.
Background
EU antitrust rules prohibit the restriction of passive sales, i.e. the sales of products cross-border in the internal market responding to demands from customers not solicited by the seller. In its October 2011 ruling on the Premier League/Murphy cases, the EU Court of Justice specifically addressed the issue of absolute territorial restrictions in licence agreements for broadcasting services. The Court held that certain licensing provisions preventing a satellite broadcaster from providing its broadcasts to consumers outside the licensed territory enable each broadcaster to be granted absolute territorial exclusivity in the area covered by the license, thus eliminating all competition between broadcasters and partitioning the market in accordance with national borders.
As part of its Digital Single Market strategy, the Commission will propose to reform EU copyright rules. It seeks to improve people’s access to cultural content online as well as to open new opportunities for creators and the content industry. More specifically, the Commission wants to ensure that users who buy online content such as films, music or articles at home can also enjoy them while travelling across Europe.
Currently, service providers, in particular in the audio-visual sector, may be prevented from providing such portability features by copyright licensing arrangements. The Commission also wants to facilitate wider access to online content across borders. In this context, the Satellite and Cable Directive will be reviewed and a public consultation will be launched after the summer. The Commission will notably assess if the scope of the Directive needs to be enlarged to broadcasters’ online transmissions.
New Delhi [India], March 11: Moscow is quickly becoming a top destination for international film productions, and Bollywood is taking notice. With modern studios, iconic city streets, and rich cultural locations, the city offers filmmakers both visual variety and logistical support. Over the past few years, collaboration between Moscow and the Indian film industry has intensified, with high-profile projects and joint initiatives demonstrating the city’s growing appeal.
We speak with Georgy Prokopov, CEO of Moscow Film Cluster, about what makes Moscow an attractive destination for Indian filmmakers, the practical benefits of shooting here, and how the city is supporting international productions.
How would you describe the main objective of the Moscow Film Cluster for entering the Indian market and participating in the IIFTC Conclave 2026?
At this stage, our goal is very specific: to establish Moscow Film Cluster as a clear, competitive and economically efficient location for Indian producers. The cluster is part of the program, initiated by Moscow Mayor Sergey Sobyanin. The key point is that this is not a one-off project – it represents a consistent, long-term city infrastructure designed to support international film production over the years.
What kind of financial support does Moscow offer Indian filmmakers?
Moscow provides rebates of up to 45% on eligible production and post-production expenses.. Producers may receive up to 30% of approved production or post-production costs as a direct financial rebate and up to 15% in benefits from reduced accommodation, logistics and services within Moscow Film Cluster and the city ecosystem. The main advantage is the in the transparent and structuredmodel: rebate categories are clearly defined, local cost thresholds are fixed, and the application and review procedure is standardized and supported by Moscow Film Cluster. This allows Indian producers to plan projects with a clear understanding of potential rebates, even though the exact amount is confirmed only after submission and approval..
How does the current financial settlement system between Russia and India affect co-productions?
One factor enhancing the attractiveness of joint projects is the direct RUB/INR settlement system. Around 90–95% of payments between Russia and India are now made without using USD or EUR, reducing currency risks. The banking infrastructure is fast: up to 60% of payments from Russia to India are processed within 10 minutes, the rest within 24 hours; from India to Russia, about 15% of transactions are completed within 10 minutes. For producers, this means payments for services, fees, and local contractors can be handled efficiently without delays or extra exchange costs.
What practical measures has Moscow already implemented to simplify the visa regime, the entry to Russia, organizational issues for the stay of Indian film crews?
Producers are naturally concerned not only with locations and rebates, but also with the time and effort required to organize a shoot. Moscow and India already enjoy strong economic and sectoral cooperation, which allows humanitarian and entry procedures to be simplified. This includes electronic visas and more predictable border processes.
Moscow Film Cluster and Moscow Film Commission work closely with Russian production partners who accompany Indian crews during preparation and filming in Moscow –from coordinating the shooting process coordination to providing on-site organizational support. Moscow also negotiates discounts on accommodation and services for film crews within the city ecosystem. The goal is to ensure producers receive all necessary services through a single managed system, without having to coordinate multiple agencies.
What types of locations and venues in Moscow might be particularly interesting for Indian projects?
Moscow offers a broad range of shooting options. Within the cluster, Film City brings together diverse spaces– from historic streets to modern European-style quarters – ideal for projects that move across countries or time periods. Film Factory adds technological capabilities for projects with heavy VFX requirements, while Gorky Film Studio provides fully equipped sound stages, workshops, and the largest archive of costumes and props, reducing the need to build everything from scratch.
Outside the studios, Moscow offers varied urban and natural locations: the historic center, modern business districts, residential areas, parks, and transport infrastructure. All urban shoots are coordinated through Film Commission, minimizing delays and simplifying the permit process.
How would you explain the Moscow Film Cluster structure to Indian producers? Where are the main points of contact with production?
In simple terms, it is a one-stop-shop ecosystem. It includes: Film City with its large backlots, Film Factory with its capabilities, Gorky Film Studio, Film Commission, a dedicated digital platform and Moskino cinema chain.
The integrated cluster structure allows to managethe entire cycle: from scouting and location shooting to post-production and movie screening for Moscow audiences. Sincethe cluster directly manages key locations and infrastructure, pricing is transparent and predictable, which is a major advantage for international partners.
How much interest is there specifically from India, and how has this interest been transformed into real projects?
The Indian interest in Moscow as a production site has become more concrete over the past two years. At FICCI FRAMES 2025, we presented Moscow Film Cluster as a venue partner and held over a hundred meetings with Indian companies, from major studios to service providers.
Smash is a good example of how financial and infrastructure instruments can be combined: the agreement was signed at the Moscow International Film Week. So, the shooting in Moscow will begin in 2026 and is supported by a rebate program. Part of the shooting will take place at the FILM CITY and part will take place at city locations. For us, this is an indicator that the Indian market perceives Moscow not as an abstract possibility, but as a real solution for specific production tasks.
What key advantages of shooting in Moscow would you highlight for Indian producers and studios?
In short, it is a combination of three groups of factors.
The first one is economics: up to 45% rebate, competitive labor costs, large backlogs that reduce travel expenses and an improved RUB/INR payment infrastructure that reduces currency and time costs.
The second one is process manageability: centralized work of tFilm Commission, digital application procedures and a clear set of rules for using city locations and infrastructure.
And the third one is the ecosystem approach: the ability to conduct most of the production cycle in one city and within one managed system—from Film City and Film Factory to Gorky Film Studio and the Moskino network. For Indian producers with their busy schedules and high demands on content volume, this allows for more accurate planning of workloads and budgets.
What message would you like to convey to the Indian industry following your participation in IIFTC 2026?
The main message is that Moscow Film Cluster is already an operational system, not a ‘in-progress’ one, and it was originally designed as a tool for international producers. We openly discuss the rebate structure, infrastructure and working conditions, based on facts and projects that have already been launched, including those with Indian partners.
Pragmatically speaking, we invite Indian companies to view Moscow as a regular link in their production chains: not as a one-off ‘exotic’ location, but as a city that can be included in their content production schedule for several years ahead.
How would you describe the main objective of the Moscow Film Cluster for entering the Indian market and participating in the IIFTC Conclave 2026?
At this stage, our objective is very specific: establishing Moscow Film Cluster as a clear, competitive and economically efficient location for Indian producers. The cluster is being created and developed as part of Moscow City Film Program, initiated by Moscow Mayor Sergey Sobyanin. And this is a key point: we are not talking about a one-off project, but about a consistent city infrastructure.
International marketplaces are professional entry points for us into dialogue with the industry, where we can show how the Moscow model works – not in theory, but in figures and production scenarios.
Rebate and project economics
Up to 45% cost rebate in Moscow:
30% — direct cash rebate on eligible expenses.
Up to 15% — through discounts on accommodation, logistics and services within the cluster and city ecosystem.
Rebate is available for shooting and post-production upon reaching the set thresholds for local costs. The cluster was created as part of the Moscow – City of Cinema program initiated by Moscow Mayor Sergey Sobyanin.
Infrastructure
Key cluster elements: Film City (backlots), Film Factory (virtual and industrial production), Maxim Gorky Film Studio, Moscow Film Commission, Film in Moscow digital platform, Moskino cinema chain.
Examples of current projects: sports drama Smash (co-production by Smena / Kartina Entertainment), shooting in Moscow with a applicated rebate from March 2026.
Financial settlements between Russia and India
90–95% of settlements between countries are already conducted in RUB and INR, without the dollar or euro.
Up to 60% of payments from Russia to India completed within 10 minutes, and the rest – within 24 hours.
About 15% of payments from India to Russia take 10 minutes.
