iWorld
Netflix adds ‘Divines’, Anurag Kashyap’s Raman Raghav 2.0 to portfolio
MUMBAI: Netflix has added the critically acclaimed movie Divines to its bouquet at Cannes film festival. The movie will be available to the members exclusively in most of the world later this year.
Described by critics as one of the best young-adult films to come out of France in recent years, the funny, often suspenseful and emotional drama tells the story of Dounia, a tough but naive teenager who sees getting rich or dying while trying as her most viable option. Set in a ghetto near Paris where drugs and religion reign supreme, Dounia is hungry for her share of power and success. Enlisting the help of her best friend, she decides to follow the footsteps of a respected dealer. When Dounia meets a young sensuous dancer, her life takes a surprising turn.
Houda Benyamina’s directorial debut received rave reviews from critics and was awarded the Caméra d’Or, an award at the Cannes Film Festival for the best first feature film of a director. Critics heaped praise on Oulaya Amamra’s “breakout” performance as Dounia.
“We saw Divines before it was award winning, praised by critics and received a standing ovation at Cannes, we immediately recognized it as an extraordinary film and acquired it early on,” said Netflix chief content officer Ted Sarandos. “We’re passionate about bringing our members great films from around the world and thrilled to bring Benyamina’s debut film to our members.”
“Emotions bring people together and are a reflection of society. Thanks to Netflix, Divines will cross borders and the world will be able to enjoy this universal story of love and friendship,” said filmmaker Houda Benyamina. “I am very happy with the collaboration with Netflix.”
Netflix members everywhere, except France, will be able to watch Divines later this year. In France, Divines will not be available on Netflix until 2019 in accordance with French media chronology rules.
Other Netflix acquisitions at Cannes
Netflix aims to bring the best film, series, documentaries and kids programming from around the world. It has already announced the acquisition of Wheelman, which stars Frank Grillo in a film directed by Jeremy Rush that will have a worldwide premiere on Netflix in 2017.
Another Cannes film prize winner Netflix members everywhere can look forward to is French director Sacha Wolff’s Mercenary (Mercenaire). The film tells the story of Soane, a young man of Wallisian origin from New Caledonia, who defies his father’s authority to go and play rugby in France. Left to his own devices on the other side of the world, his odyssey will take him on the path to becoming a man in a world where there is a price to be paid for success.
Other acquisitions from Cannes that Netflix members will be able to watch include:
Raman Raghav 2.0 – A thriller from ace Indian director Anurag Kashyap. Ramanna, a serial killer fascinated by a psychopath from the 60s, and Raghavan, a young policeman, are waging a battle without mercy. But who is really the one being chased?
Aquarius – A drama from Brazilian director Kleber Mendonça Filho centered around Clara, a 65-year-old widow and retired music critic who is the last resident of the Aquarius, an original two-storey building, built in the 1940s, in the upper-class, seaside Avenida Boa Viagem, Recife. All the neighbouring apartments have already been acquired by a company which has other plans for that plot. Clara has pledged to only leave her place upon her death. (Aquarius will be on Netflix in North America, Australia, New Zealand, Asia, Latin America (outside of Brazil) and UK with other regions to be confirmed.)
The Day Will Come – A Danish drama directed by Jesper Nielsen developed and written by Søren Sveistrup, known from hit shows like The Killing. Set in the 1960s, The Day Will Come centers around two inseparable brothers, Elmer and Erik, who are locked in a boy’s home and engage in a battle against the tyrannical Headmaster Heck to set themselves free.
Very Big Shot – feature debut of Lebanese director Jean Bou Chaaya. The comedy deals with brothers Ziad and Joe who run a small but lucrative drug-dealing business out of their takeout pizzeria in one of Beirut’s working-class districts. With their youngest brother Jad about to be released from prison, Ziad and Joe plan to go straight, but their supplier is not keen to see his dealers retire.
Journey to Greenland – A French comedy directed by Sébastien Betbeder. Two thirty-something actors from Paris hit a rough patch and decide to leave the city and fly away to Kullorsuaq, one of the most remote villages of Greenlands. Among the Inuit community, they discover the local customs and their friendship is challenged.
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.
