Hollywood
Sony Le Plex HD to premiere Foxcatcher in India
MUMBAI: “A coach is a father. Coach is a mentor. Coach has great power on an athlete’s life,” says John Du Pont, the coach of team Foxcatcher.
Sony Le Plex HD is all set to unfold critically acclaimed and award winning film Foxcatcher on 4 December at 1pm and 9pm time slot.
Based on the real events surrounding wrestling enthusiast John Du Pont’s recruitment of Olympic gold medalist wrestler brothers Mark and Dave, and the succeeding murder, Sony Le Plex HD will showcase the Indian television premiere of the film in their slot Le Premiere.
Directed by Bennett Miller, the film revolves around multimillionaire John du Pont (Steve Carell), who runs and funds a training academy after being unable to make a mark as a wrestler himself, due to family pressure.
Along with nominations in five categories at Academy Awards, three in Golden Globe, and a nomination for the prestigious Palme d’Or, Bennett Miller won the Best Director Award for the film at the 2014 Cannes Film Festival.
Sony Le PLEX HD community ambassador Zoya Akhtar said, “Real-life stories look more convincing when executed with authenticity and dedication. Foxcatcher has been crafted so convincingly that it has all the elements to drive interesting conversations till long after the movie is over. The strong performances stay with you for a long time and movie enthusiasts like me can’t help but talk about it. With a fine collection of highly acclaimed films, Sony Le PLEX HD is the place I turn to for great movie experience on TV – this is where I belong.”
Hollywood
Utopai Studios partners Huace to deploy PAI for long form content
Deal includes revenue sharing as Huace adopts AI engine across global ops
MUMBAI: Lights, camera… algorithm, the script just got a silicon co-writer. In a move that signals how storytelling itself is being re-engineered, U.S.-based Utopai Studios has partnered China’s Huace Film & TV Co. Ltd. to bring artificial general intelligence into the heart of long-form content creation.
At the centre of the deal is PAI, Utopai’s cinematic storytelling system, which Huace will deploy as a core engine across its production pipeline from development and creative iteration to global localisation. The partnership includes a large-scale annual usage commitment from Huace, alongside a usage-based revenue-sharing model, underscoring both ambition and commercial confidence on both sides.
For Huace, one of China’s largest film and television companies, the bet is not on automation alone but on scale with control. With distribution spanning over 200 countries and a presence across more than 20 international platforms, including Netflix and YouTube, the company brings a vast content ecosystem where even marginal efficiency gains can translate into significant output shifts. Its extensive TV IP library further positions it as fertile ground for AI-assisted storytelling workflows.
The choice of PAI follows what Huace described as a rigorous evaluation of existing AI tools, many of which remain limited to fragmented use cases such as video generation or editing. What tipped the scales, according to the company, was PAI’s ability to handle long-form narrative complexity maintaining continuity, structure, and creative coherence across entire story arcs rather than isolated clips.
Utopai, for its part, is using the partnership to anchor its international expansion strategy, pitching PAI as an enterprise-ready system built for customisation, privacy, and regulatory adaptability across markets. That positioning becomes particularly relevant as global media companies increasingly scrutinise how AI integrates into proprietary workflows.
The timing is notable. Earlier this month, Utopai upgraded PAI to support three-minute 4K video generation and advanced multi-shot sequencing features designed to tackle one of AI storytelling’s biggest hurdles: consistency across scenes.
What emerges is not just another tech collaboration, but a glimpse into how the grammar of filmmaking could evolve. Because if stories were once crafted frame by frame, the next chapter might just be coded scene by scene.
