Title
Kalash Nanda KUMAR
Overview
It has been five years since the pandemic, and recovery to pre-pandemic years no longer seems to be a far-fetched goal, but rather is turning out to be a utopian idealism. Prevailing fears of shifting viewing habits and the advent of streaming platforms, mixed with the rising cost of living is proving to be true after all. The genie is out of the bottle, and Malaysian cinemas are not immune to the trends we are seeing around the world. In brief, here is the big number that raises alarm: the average annual box office collectionⅰ for Hollywood titles from 2008 to 2019 was $166M versus $47M, which is the average collection from 2020 to 2025. (Like the S&P 500 index, I am using Hollywood movies as a heuristic benchmark for the health of Malaysian cinemas).
Despite cinemas fully reopening and content pipelines back to full throttle, long-term trend suggests a contraction of audiences. Due to limited data around the industry, this is by no means a comprehensive extrapolation. The decline of Hollywood box office returns in Malaysia does not indicate complete audience disappearance, but could also reflect shifting preferences to domestic and Asian movies.
Top 10 Overall Box Office (H1 2025)
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| No | Title | Director | Country | Genre | Revenue (MYR) |
Revenue (KRW) |
Revenue (USD) |
Distributor |
|---|---|---|---|---|---|---|---|---|
| 1 | Jurassic World: Rebirth | Gareth EDWARDS | United States | Action, Adventure | 33,631,389 | 11,085,893,584 | $7,943,176 | Universal Pictures International (UPI) |
| 2 | Mission: Impossible - The Final Reckoning | Christopher McQuarrie | United States | Action, Adventure | 22,197,372 | 7,316,905,868 | $5,242,651 | Paramount Pictures International |
| 3 | How to Train Your Dragon | Dean DEBLOIS | United States | Action, Adventure, Fantasy | 15,297,899 | 5,042,636,971 | $3,613,110 | Universal Pictures International (UPI) |
| 4 | Thunderbolts* | Jake SCHREIER | United States | Action, Adventure, Fantasy | 14,224,843 | 4,688,926,226 | $3,359,672 | Walt Disney Pictures |
| 5 | Demon Slayer: Kimetsu no Yaiba Infinity Castle | SOTOZAKI Haruo | Japan | Anime, Action, Adventure | 13,972,192 | 4,605,645,000 | $3,300,000 | Sony Pictures Releasing |
| 6 | The Fantastic Four: First Steps | Matt SHAKMAN | United States | Action, Adventure, Fantasy | 12,986,513 | 4280736284 | $3,067,199 | Walt Disney Pictures |
| 7 | Lilo & Stitch | Dean FLEISCHER CAMP | United States | Action, Adventure, Family | 12,476,520 | 4,112,627,450 | $2,946,747 | Walt Disney Pictures |
| 8 | Captain America: Brave New World | Julius ONAH | United States | Action, Adventure, Fantasy | 11,812,527 | 3,893,756,034 | $2,789,923 | Walt Disney Pictures |
| 9 | Final Destination: Bloodlines | Zach LIPOVSKY, Adam STEIN | United States | Action, Adventure, Fantasy | 7,197,796 | 2,372,605,000 | $1,700,000 | Warner Bros. |
| 10 | Ballerina | Len WISEMAN | United States | Action | 4,287,468 | 1,413,275,663 | $1,012,629 | Encore Films |
Top 10 Domestic Film Box Office (H1 2025)
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| No | Title | Director | Country | Genre | Revenue (MYR) |
Revenue (KRW) |
Revenue (USD) |
Distributor |
|---|---|---|---|---|---|---|---|---|
| 1 | Blood Brothers: Bara Naga | Syafiq YUSOF | Malaysia | Action | 73,619,532.24 | 21,202,430,000 | 15,460,100 | Skop Productions |
| 2 | Ejen Ali The Movie 2 | Usamah ZAID | Malaysia | Animation | 55,205,742.62 | 15,899,250,000 | 11,593,210 | Wau Animation, Primeworks Studios |
| 3 | Money Games | LAI Kin Hoong | Malaysia | Comedy | 9,449,033.56 | 2,721,322,000 | 1,984,297 | Elepfilm Entertainment |
| 4 | Gayong | Faisal ISHAK | Malaysia | Historical Fiction, Action | 4,113,871.31 | 1,184,795,000 | 863,913 | Sol Pictures |
| 5 | Keluang Man | Anwari ASHRAF | Malaysia | Superhero, Action | 3,863,884.00 | 1,112,799,000 | 811,416 | Astro Shaw |
| 6 | Game of Life The Movie | Syafiq YUSOF | Malaysia | Drama | 3,255,526.05 | 1,073,142,491 | 769,536 | Key Billions |
| 7 | OMG! Mom's Big News | Ernest CHONG | Malaysia | Family, Drama | 2,408,893.50 | 693,762,000 | 505,868 | One Etc Pictures |
| 8 | Telaga Suriram | Osman ALI | Malaysia | Horror, Thriller | 1,715,996.00 | 494,207,000 | 360,359 | Odissi Creative |
| 9 | Behind the Shadows | Jonathan LI, CHAU Man Yu | Malaysia | Crime, Drama | 1,198,826.99 | 345,243,000 | 251,754 | Filmforce Studio |
| 10 | Martabat: Misi Berdarah | Zahiril ADZIM, Adrian TEH | Malaysia | Comedy | 1,065,885.65 | 306,978,000 | 223,836 | Act 2 Pictures, Golden Screen Cinemas, Astro Shaw |
Production Landscape
Domestic Box Office Collections in Malaysia (2017-2025)
Data generated as of 07/07/2025, courtesy of FINAS.
When accepting his Academy Award for Anora, director Sean Baker made a passionate plea to support theatresⅰⅰ as it is a vital part of our communal experience and culture. It is becoming an axiom now that cinemas and the theatrical landscape is under threat, and as we move to the future, might change permanently. As industry professionals, the question we have to ask ourselves is whether we are willing to accept what seems to be inevitable, or fight to preserve the theatrical experience.
However, there are some silver linings to these shifting winds. While Hollywood titles continue to rake in the majority of collections, audience-confidence in domestic titles is peaking. As of July 2025, domestic box office has crossed MYR160M ($37M) outpacing the annual total of MYR115M ($27M) in 2024 with 57 releases and MYR108M ($25M) in 2023 with 62 releases. Out of the 47 releases so far, the biggest titles are Blood Brothers: Bara Niaga (MYR73M) and Ejen Ali The Movie 2 (MYR55M)ⅰⅰⅰ.
This is not unexpected. Blood Brothers is co-directed by Syafiq Yusof (and Abhilash Chandra), who alongside sibling Syamsul Yusof, is a household name in Malaysia. Their movies continue to be major tentpoles for local audiences. Meanwhile, the success of Ejen Ali The Movie 2 can be attributed to building off a well-beloved IP and is among the few domestic titles with cross-generational appeal - challenging perceived notions around animated titles not being box office hits.
Blood Brothers Bara Naga © Skop Productions
Financing Models
Film financing in Malaysia follows a combination of state support, studio-led investments, private equity and funding from boutique media or production companies. A major source of support comes from Malaysia’s national film agency, FINAS, which offers grants and soft loans under the Creative Content Fund (DKK). In a politically and culturally sensitive climate like Malaysia, getting your production supported by FINAS signals confidence to private investors, studios and distributors. The agency’s flagship initiative also includes the ‘Film in Malaysia Incentive’ (FIMI) which offers tax incentives and cash rebates upwards of 35% of total production expenditure to encourage international projects into the country. Since its inception in 2013, a total of 128 productions have been supported (76 local; 52 international) with the incentive seeing returns upwards of MYR2.3 billion to the local economyⅰⅴ. Notable previous projects include Crazy Rich Asians, Michael Mann’s Blackhat and Marco Polo.
However, fluctuating political priorities has affected the allocation of funds earmarked towards this incentive. In 2024, MYR90M had been allocated but it was reduced to MYR40M in 2025, to the frustration of manyⅴ. For major international productions looking to shoot in Malaysia, this is a drop in the bucket, and would mean only a few become successful beneficiaries. To protect the integrity of the fund, producers are only able to claim the rebate after the production is completed, but uncertainties around its disbursement creates anxiety and a lack of confidence. Producers and filmmakers are urging the government to expand the incentive under Budget 2026, lest Malaysia loses its edge to its Southeast Asian neighbors.
Private financing also seems to sputter across mid-tier projects but it is more difficult to track. A relatively new player in the film financing scene is Golden Screen Cinemas (GSC). The Writers Strike in Hollywood last year disrupted the pipeline of content and to offset this, GSC has been shifting attention towards regional movies. The company is betting big on local filmmakers, co-producing between five to seven movies with a profit-sharing basis ranging between MYR8M to MYR20M for each productionⅴⅰ. Meanwhile, crowdfunding remains a more elusive means to an end, with only four projects to have done it in history to date: Kuman Pictures’ Pendatang (2023), Don't Rock the Boat (2023), The Tides Will Decide (2025), and Gogularaajan Rajendran’s upcoming musical documentary, Aararo Ariraro (funding still in progress).
Overall, financing in early 2025 has leaned more bullish than cautious. The runaway success of Sheriff, Mat Kilau, and the Polis Evo franchise has given producers confidence that Malaysian blockbusters could take on foreign titles. That optimism has fed into more aggressive spending this year - Blood Brothers had a MYR6M budget, Keluang Man at MYR10.6M and Ejen Ali 2 with MYR10M. Producers' risk appetite is growing, where multi-million dollar projects are no longer seen as an abnormality. Independent and emerging filmmakers on the other hand look towards international co-production schemes, film festival funds and grants to piece the bulk of their capital.
Ejen Ali the Movie 2 © Primeworks Studios, WAU Animation
Distribution Climate
Among its neighbors in Southeast Asia, Malaysia is unique in that its audiences are fragmented across ethnic and racial lines due inherited colonial policies. Malay-language titles dominate collections, reflecting the country’s ethnic population size, while Chinese and Tamil language titles remain as outliers. However, Lai Kin Hoong’s Money Games (MYR9M) was a surprise hit, which featured popular Hong Kong actors Eric Tsang, Bobby Au-yeung and Edmond So.
Money Games © EJJ Films
This might be a premature assumption, but the shorter theatrical windowⅴⅰⅰ for Hollywood titles might be favoring domestic titles as accessibility to them are much harder and rarer on streaming platforms. Major studios like Skop Productions, Astro Shaw, Primeworks Studios and Wau Animation including cinema chains like GSC are investing heavily to build on this momentum. Whether foreign or local, action films continue to be the populist choice, though surprisingly, horror titles which have been a staple, are not commanding audiences as it was in preceding years.
Theatrical Reach
Theatre Chain Market Share (H1 2025)
| Name | Number of Venues | Market Share (%) |
|---|---|---|
| GSC | 52 | 32.5% |
| TGV | 40 | 25.0% |
| Others | 34 | 21.3% |
| LFS | 14 | 8.7% |
| MMC | 12 | 7.5% |
| MBO | 8 | 5.0% |
Following patterns of previous years, most of the domestic box office collection is concentrated around one or two tentpole productions. To illustrate this, observe the difference between Blood Brothers (which takes the top spot) and Money Games (third highest grossing movie) which comes to a staggering MYR64Mⅴⅰⅰⅰ. This should be of concern for Malaysian producers and policymakers. Needless to say, the dangers around concentration, both in screentime and box office returns, among a few players cannot be understated. This recurring pattern would only lead to an impoverished cinema culture - in aesthetics, genres, and programming.
Observing the returns for the first half of 2025, the strongest titles are primarily backed by Skop Production, Primeworks Studio and Astro Shaw - all of whom are able to mobilize significant resources for higher-quality production designs and nationwide marketing campaigns. These companies also enter into co-financing deals with international distributors or OTT platforms.
The three major cinema chains in Malaysia are GSC, TGV Cinemas, and MMCineplexes, followed by Lotus Five Star and MBO cinemas. In 2020, during the pandemic, MBO - the third largest chain at the time, suffered severe losses and announced liquidationⅰⅹ. Subsequently, a majority of its assets were acquired by GSCⅹ, and as a result, commanded 51% of the theatrical market share with 52 venues across Malaysiaⅹⅰ. MBO was subsequently relaunched with new investors onboard.
Technology and Production Services
PPB Group, which owns GSC, has been taking aggressive measures towards becoming a more active player in its film exhibition and distribution business. Rising ticket prices and ‘expansion’ of the theatrical experience through IMAX screens, 4DX, boutique outlets, diverse programming, et al., indicates the struggle cinemas are facing to gain pre-pandemic era footfalls. To supplement the ‘drought’ period between Hollywood tentpoles, GSC has been acquiring titles from China, Singapore, India and Indonesia. The company announced that it plans to invest MYR327M over the next five years towards its film distribution segment. In 2024, it distributed 72 films, securing 14% market shareⅹⅰⅰ. It remains the largest local distributor of Asian, independent English and international films in Malaysia. Distributors like GSC and Astro Shaw have significant influence over market dynamics having an established pipeline from production (co-financing major tentpoles) to exhibition.
To provide a safety net for local productions, another strategy FINAS has implemented is the mandatory screening scheme (skim wajib tayang) - introduced in 2005, which guarantees a two week screentime for local productions. This provides a cushion and reduces the risk for smaller scale productions. However, if collections are poor within the first four days, cinemas are allowed to reduce the number of screens or pull the title altogether. Theatrical reach is nationwide, with the exception of Islamic-controlled state of Kelantan which has prohibited theatres since 1990. Venues are concentrated in major cities - Selangor and Kuala Lumpur accounting for the bulk of the grosses, while regional cities of Johor, Penang, and Perak make-up for secondary markets. As part of strategic rationalisation efforts, GSC ceased cinema operations in five locations, while opening two new key locations catering to a more affluent market in Kuala Lumpurⅹⅰⅰⅰ. The reduction of entertainment tax from 2024 to 2028 in Kuala Lumpur and Putrajaya bodes well for cinemas in those locationsⅹⅰⅴ.
Streaming Services and Digital Growth
Looking ahead to 2026, the industry is expected to stabilize further and recover in admissions. For cinema chains, diversifying their content and programming slate might just be the solution as Hollywood movies continue to underperform, as GSC has noted. However, for local producers, rising production costs, a lack of reliable financing infrastructure, and market saturation from Hollywood and regional imports remain major obstacles. For emerging filmmakers, opportunities lie in co-productions with international partners and the export of Malaysian IP into streaming ecosystems.
At the same time, streaming has become one of the most competitive and rapidly evolving parts of Malaysia’s content landscape. The market in 2025 is saturated, from Netflix to Disney+ Hotstar, Prime Video, Apple TV+, Max, Viu and finally, iflix — each of them positioning in unique ways to stand out in this crowded field to domestic audiences. For local studios, developing streaming-first content has become both a way to diversify revenue and a strategic response to the instability from Hollywood, and as a means to celebrate Malaysian IP.
Astro’s sooka has emerged as Malaysia’s fastest-growing OTT platform, with 1.2 million monthly active users and a doubling paying base in FY25, offering a hybrid of live sports and Astro Originals. Astro has positioned itself as the “home of Malaysian storytelling”: betting big on its Keluang Man Cinematic Universe to establish Malaysia’s first large-scale superhero IP, with both theatrical and streaming tie-ins. However, it remains to be seen whether the significant losses from its debut entry, Keluang Man, which grossed only MYR3.8 million against a MYR10.6 million budget, will force a shift in strategy. However, CEO Euan Daryl Smith insists “our edge is local”: 82% of Astro’s viewing time now comes from Malaysian and vernacular content, supported by 10,000 hours of fresh programming annuallyⅹⅴ.
At the same time, Chinese streaming giant iQIYI (dubbed the “Netflix of Asia”) has expanded aggressively into Malaysia. With over 120 million global subscribers and 500 million monthly active users, iQIYI has invested in local originals and partnerships with creators such as MIG Productions and Infinitus. Its first Malay-language hit Rampas Cintaku drew more than 100 million views globally, and the platform has announced more than a dozen Malay-language seriesⅹⅴⅰ.
Despite challenges and uncertainties, the content frenzy indicates that there is a lot to be optimistic about. Recent box office successes of Mat Kilau, Sheriff and Munafik coupled with the critical reception of Tiger Stripes and Abang Adik are testament to the highly-skilled talent available in the country. This year, we will see the likes of Shanjhey Kumar Perumal returning with Macai and Fire on Water, two spiritual sequels to his Tamil-language dark horse Jagat. Woo Ming Jin’s The Fox King is set for an Asian premiere at Busan International film festival, while a host of in-development projects have already gained festival attention: Diffan Sina Norman’s Sitora, Ananth Subramaniam’s The Passport, Joel Soh’s Baran, Lau Kok Rui’s Wake Me Up When The Mourning Ends, Woo Ming Jin’s White Rabbit, Amanda Nell Eu’s Lotus Feet, Tan Seng-kiat’s The Supermom And Three Stickmen, and Haziqah Azemi’s Garek. For all the cynicism the numbers may indicate, the kids are alright.
Interview
with Shamin Yusof, Executive Producer of Blood Brothers: Bara Naga
Photo Courtesy of Shamin Yusof
As the executive producer of Blood Brothers: Bara Naga and Managing Director of Skop Productions, Shamin Yusof has been at the forefront of Malaysia’s biggest box office story of 2025. In this conversation, she reflects on the movie’s success, the challenges (and opportunities) of producing in Malaysia, as well as where she sees the industry heading.
Q. Could you give me a brief history of how you ended up becoming a producer?
A.I grew up around film sets. My father, Datuk Yusof Haslam, built one of the oldest and most enduring production houses in Malaysia, and I absorbed the knowledge of producing by watching him managing the company and producing every film Skop has made since the 90’s—from development and financing to marketing and release. After working outside of Skop for about a decade, I was finally summoned by him to help out with the company. I started on the ground, learning every part of the process: production management, financing, distribution, and later series producing. My early breakthrough was producing KL Gangster Underworld, the first Malaysian original series for iflix. From there, I moved between features and series, including producing Disney’s Special Force Anarchy and managing the distribution of every film Skop produced, up until today.
Q. Blood Brothers is now the highest-grossing Malaysian film of 2025, crossing RM78 million. What do you think drew audiences to the film, and did you anticipate this scale of success?
A.We’re incredibly grateful for the response, Blood Brothers has crossed RM78 million in Malaysia and also entered Netflix’s Top 10 Non-English titles, which tells me the film resonated beyond our borders. Did I anticipate it? Yes, we carefully planned every single step, but in this industry, you’ll never know, so the scale of the response was humbling.
Q. How would you describe the current climate for making movies in Malaysia? In your experience, are things getting easier for filmmakers, or harder?
A.It’s easier because audiences show up for real theatrical experiences, crews are stronger, and streamers open doors regionally and globally. It’s harder because costs are up, marketing is more competitive, and censorship and screen allocation require careful planning. If you’re disciplined, data-led, audience-first, it’s a great time. If you rely on old formulas, it’s tough. The movie business is always uncertain, but as filmmakers we must keep delivering higher-quality films that are worth the audience’s time and money.
Q. Observing the domestic box office data, it seems audiences settle on preferences to a handful of blockbuster titles, while many mid-tier productions struggle to even cross RM10 million. From your perspective, is this gap sustainable for the industry?
A.Not long-term. We need a healthy middle. Besides tentpoles, mid-budget films must be right-sized, marketed smarter, and “eventized” with previews, festival selections, and community screenings. Strategic windowing and regional co-productions (Singapore, Indonesia, Brunei) can expand first-week markets and make the middle sustainable.
Q. Could you walk me through your process when deciding on a project? What factors weigh most heavily in your decision? Do filmmakers usually pitch to you, or do you approach directors you want to work with?
A.It’s a mix of inbound pitches and me pursuing new filmmakers and those I admire. We normally greenlight a project based on the story and hook. Can I sell this idea to platforms, exhibitors and foreign buyers, but most importantly can the Malaysian audience relate to the story. It has to work in Malaysia first before anywhere else. The director's vision is also important – we need to be able to visualize it and see how and what the director can do to elevate and set the film apart from the ones that have been done before. Budget breakdown has to be clear as well, so that we could tell if the producers/directors have a clear understanding of how to work with the budget that has been allocated.
The other aspect that we would look at is of course practicalities like the schedule and Skop’s project pipeline. I’m very hands-on in packaging from the financing structure, incentives, and distribution planning, because getting the deal right is as important as getting the script right.
Q. With streaming platforms becoming more dominant, would you consider releasing certain projects direct-to-OTT, or is theatrical still the primary goal for Skop Productions?
A.Theatrical is still the goal for titles built as big-screen experiences. But I’m format-agnostic. Some stories work better as limited series or direct-to-OTT, especially niche audiences or crowded calendars. We design distribution from development: tighter theatrical windows, strong premium digital, then streaming to keep momentum.
Q. From your point of view, what do you see as the biggest opportunity for Malaysian cinema in the next few years?
A.Ultimately, our advantage is authenticity. When we lean into who we are—and execute with world-class craft—the market responds, at home and abroad.
Kalash Nanda KUMAR
Critic, Journalist
Kalash Nanda Kumar is a Malaysian journalist and critic whose work spans culture, environment, and current affairs. He has participated in numerous regional and international film festivals, serving as a juror, programmer, and facilitator. Kalash is a member of FIPRESCI, NETPAC and PEN Malaysia.
Endnotes
- ⅰ IMDbPro. “Malaysian Yearly Box Office.” Box Office Mojo, https://www.boxofficemojo.com/year/?area=MY. Accessed 12 September 2025.
- ⅰⅰ Murphy, J. Kim. “Sean Baker Says Movie Theaters Are ‘Under Threat’ While Accepting Oscar for Best Director: ‘Keep Making Films for the Big Screen. I Know I Will.’” Variety Australia, 2025, https://au.variety.com/2025/awards/news/sean-baker-best-director-oscar-anora-20701. Accessed 12 9 2025.
- ⅰⅰⅰ FINAS. “Film Collection Data: Mandatory Screening Scheme.” FINAS, 2025, https://www.finas.gov.my/en/malaysian-box-office. Accessed 12 September 2025.
- ⅰⅴ Idris, A. Azim. “Film industry leaders decry RM40 mil budget allocation as inadequate.” Scoop, 2024, https://www.scoop.my/news/236483/film-industry-leaders-decry-rm40-mil-budget-allocation-as-inadequate. Accessed 12 9 2025.
- ⅴ Idris, A. Azim. “Film industry leaders decry RM40 mil budget allocation as inadequate.” Scoop, 2024, https://www.scoop.my/news/236483/film-industry-leaders-decry-rm40-mil-budget-allocation-as-inadequate. Accessed 12 9 2025.
- ⅴⅰ Basri, Shahrill. “PPB Group's GSC expects tough year ahead, to focus on local, regional movies.” The Edge Malaysia, 5 March 2024, https://theedgemalaysia.com/node/703466. Accessed 12 September 2025.
- ⅴⅰⅰ Goldsmith, Jill. “AMC’s Adam Aron Slams 17- & 30-Day Theatrical Windows As Too Short, Calls Whole Topic “A Very Live Debate Right Now.””Deadline, 2025, https://deadline.com/2025/02/amc-entertainment-adam-aron-theatrical-windows-streamers-netflix-narnia-f1-1236301868. Accessed 12 9 2025.
- ⅴⅰⅰⅰ FINAS. “Film Collection Data: Mandatory Screening Scheme.” FINAS, 2025, https://www.finas.gov.my/en/malaysian-box-office. Accessed 12 September 2025.
- ⅰⅹ Zainul, Emir. “MBO Cinemas faces liquidation on virus woes.” The Edge Malaysia, 15 October 2020, https://theedgemalaysia.com/article/mbo-cinemas-faces-liquidation-virus-woes. Accessed 12 September 2025.
- ⅹ Aziz, Adam. “GSC buys majority of MBO cinema assets.” The Edge Malaysia, 2 March 2021, https://theedgemalaysia.com/article/gsc-buys-majority-mbo-cinema-assets. Accessed 12 September 2025.
- ⅹⅰ PBB Group Berhad. “SHARED PURPOSE.” PPB Group Berhad, 26 March 2025, https://www.ppbgroup.com/images/pages/investor-relations/annual_report/2024/ppb-annual-report-2024.pdf. Accessed 12 September 2025.
- ⅹⅰⅰ Lai, John. “PPB's GSC confident on growth on return of Hollywood blockbusters, moviegoers.” The Edge Malaysia, 5 March 2025, https://theedgemalaysia.com/node/746868. Accessed 12 September 2025.
- ⅹⅰⅰⅰ Zainul, Emir. “GSC to launch GSC KL East next week, to close GSC Central Square Sungai Petani by early June.” The Edge, 2024, https://theedgemalaysia.com/node/711361. Accessed 12 September 2025.
- ⅹⅰⅴ M, BAVANI. “Tax exemption will spur KL's entertainment scene.” The Star, 19 October 2023, https://www.thestar.com.my/metro/metro-news/2023/10/19/tax-exemption-will-spur-kls-entertainment-scene. Accessed 12 September 2025.
- ⅹⅴ Astro. “ASTRO CAPS OFF FY25 WITH CONTENT TRIUMPHS, QUARTERLY ADEX REBOUND, AND STREAMING MOMENTUM | Press Release | Mediaroom | Astro.” Astro Malaysia Holdings, 25 March 2025, https://corporate.astro.com.my/mediaroom-releases/astro-caps-off-fy25-with-content-triumphs-quarterly-adex-rebound-and-streaming-momentum. Accessed 12 September 2025.
- ⅹⅴⅰ Navalan, S. “Streaming giant iQIYI, known as Netflix of Asia, have big plans for the entertainment industry in South-East Asia.” The Star, 2024, https://www.thestar.com.my/aseanplus/aseanplus-news/2024/10/17/streaming-giant-iqiyi-known-as-netflix-of-asia-have-big-plans-for-the-entertainment-industry-in-south-east-asia. Accessed 12 9 2025.