iWorld
‘Stolen’ steals the spotlight as Prime Video reveals its winning strategy
MUMBAI: At the 56th International Film Festival of India (IFFI) in Mumbai, Prime Video hosted a lively deep-dive session on how Stolen transformed from a risky indie bet into a global breakout and, in the process, became a cinematic calling card for creators who dare to tell uncomfortable truths.
The panel brought together actor Abhishek Banerjee, writer-director Karan Tejpal, producer Gaurav Dhingra, and Prime Video India’s head of content acquisition Manish Menghani, with filmmaker Divyansh Jain steering the discussion.
The session opened with the story behind the story. Karan recalled the harrowing real-life incidents that inspired Stolen, many rooted in the wave of “WhatsApp lynchings” that swept across India between 2015 and 2020.
He said one incident from Assam stayed with him, “It wasn’t just the brutality, it was the laughter of unseen bystanders. I had to understand why this was happening in my own country.”
That urgency, he said, became the film’s spine.
For Prime Video, choosing Stolen wasn’t about scale, genre or commercial certainties. Manish explained that the platform’s content philosophy hinges on one question: Is this a story that must be told now? “This isn’t a film you simply watch. It confronts you and refuses to sit in a neat genre box. It’s rooted, raw and real and that’s what makes it powerful,” he said.
He added that the film’s execution sealed the deal. “It felt like someone telling me a story, not a film playing on screen. The performances were lived-in, the craft nearly global in standard, and the creators protected their vision all the way through, which is rare.”
Abhishek Banerjee spoke about the rigorous long-take sequences, rehearsed repeatedly with co-actor Shubham to maintain authenticity. “You’re acting, driving, staying in frame, keeping others unmasked , everything at once. It taught me the value of brutal rehearsal.”
When asked how the film might be remembered decades from now, Karan called it a “time capsule” of the country: a snapshot of a disturbing social moment that future generations could revisit to understand the times.
Manish highlighted the film’s thematic core: two brothers choosing between safety and moral responsibility. “That uncomfortable choice is what stays with you. It forces you to reflect on your own decisions.”
On supporting creator-driven films, he outlined three pillars: unwavering creative conviction, world-standard execution, and a strong team, with the business of cinema taken as seriously as the storytelling craft.
Producer Gaurav Dhingra echoed the importance of integrity in filmmaking, “Producing isn’t just spending money, it’s deciding what truly serves the film’s value.”
Prime Video’s presence at IFFI, the company said, reflects the growing role of streaming in elevating India’s creative economy and projecting homegrown stories onto a global canvas.
iWorld
Netflix cuts jobs in product division amid restructuring
Layoffs hit creative studio unit as leadership and strategy shifts unfold.
MUMBAI: The streaming wars may be fought on screen, but the latest plot twist is unfolding behind the scenes. Netflix has reportedly begun laying off several dozen employees from its product division as part of an internal reorganisation, according to a report by Variety. The cuts are believed to have primarily affected the company’s creative studio unit, which works on marketing assets such as in app trailers, promotional visuals and live experience content for the streaming platform.
The company has not disclosed the exact number of employees impacted.
According to the report, the layoffs were not tied to employee performance. Instead, the restructuring eliminated certain roles while other employees were reassigned to different teams within the organisation.
The roles affected are understood to include designers, producers and creative specialists responsible for marketing and brand experience initiatives.
The job cuts come as Netflix adjusts its leadership structure and reshapes its product and creative teams. Last month, Elizabeth Stone was promoted from chief technology officer to chief product and technology officer, giving her oversight of product, engineering and data operations across the company.
Earlier, in December 2025, Netflix also appointed Martin Rose as head of creative for global brand and partnerships, a move seen as part of a broader restructuring of the company’s brand and product functions.
Despite the layoffs, Netflix remains one of the largest employers in the streaming sector. The company is estimated to employ around 16,000 people globally, with roughly 70 percent of its workforce based in the United States and Canada. In 2023, the company reported approximately 13,000 employees, indicating that its headcount had grown significantly before the latest restructuring.
The workforce changes arrive at a time when Netflix is navigating a shifting financial and strategic landscape in the global entertainment industry.
The streaming giant recently secured $2.8 billion in additional cash after receiving a breakup fee from Paramount Skydance following its withdrawal from a deal involving Warner Bros. Discovery.
Speaking to Bloomberg, Netflix co chief executive Ted Sarandos explained that the company had evaluated multiple scenarios during the negotiations but chose not to match the competing offer once it learned that a higher bid had been submitted.
Netflix had capped its offer at $27.75 per share and ultimately stepped back rather than pursue Paramount’s $111 billion acquisition deal, which included a personal guarantee.
Sarandos also cautioned that the financing structure behind the Paramount Skydance transaction could have ripple effects across the entertainment industry.
According to him, the debt heavy deal could trigger significant cost cutting, with David Ellison, chief executive of Paramount Skydance, expected to eliminate about $16 billion in costs and potentially cut thousands of jobs as part of the integration process.
For Netflix, the current restructuring appears to be part of a broader attempt to streamline operations while continuing to invest in product, technology and global content even as the streaming industry enters a new phase of consolidation and financial discipline.
