Corporate presentation

November 2016

Eros the leading Indian film studio

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Executive Summary

190+ new releases in the last 3 fiscal years

Owns a large content library of Indian language films, 2000+, and music

Multi-channel distribution in 50+ countries in 25+ languages

Robust India macro landscape with highly attractive fundamentals

Strong revenue growth and solid track of profitability

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2

3

4

5

Eros: A global leader in Indian film entertainment with strong box-office market share

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Content is King

New film mix60-70 films

each year

•Hindi

•Regional languageCo-production

2,000+ film library (1 year after Theatrical Release)

Acquisition Trinity

Pictures

PAGE 4

Eros: A Multi-Platform Model

• Leading player in a growing and underpenetrated cinema market

Eros had 3 out of top 4 and 7 out of the top 15 India Box Office hits in CY 2015

Film pre-sales facilitated by long-standing Eros brand, reputation and industry relationships

Theatrical

• Cable digitisation and rising Pay TV penetration drive market growth and demand for premium content

Eros’ film library of over 2,000+ films is a stable source of revenue growth with high margins

Television rights are often sold before box-office releases

Other streams include Music, Cable and broadband syndication, in-flight sales, DVD sales, etc.

Television & Others

• Sale of international distribution rights to the parent company benefits de-risking and cash flows

Pre-determined recovery of Eros International’s total film cost

Parent Company enjoys wide international distribution network across 50 countries

Overseas

TV Syndication Freemium

$

Pay Per View Subscription Advertising Bundled ServicesTheatrical

Eros International is strategically positioned to monetise film content through

multiple channels globally

PAGE 5

Leading Box Office Market Share

US & UK Market Share CY 2011-20151

Blockbuster film slate – Eros films account for 7 out of top 15 films in 2015

No.1 No.15No.12No.11No.9No.4No.3

• Last 5 years average

market share of 35% in

UK and 34% in US, of all

theatrically released

Indian language films

• Note Eros’ leading

position but also

fragmentation of rest of

the market

(1) Represents average market share of all theatrically released Indian language films from 2011 - 2015. Source: Rentrak.

Eros35%

UTV19%

YRF11%

Reliance8%

Fox6%

Others20%

UK

Eros34%

UTV21%

YRF11%

Reliance10%

Fox4%

Others20%

USA

PAGE 6

Eros Films Dominate CY2015 Awards

Eros films win over 150 awards across IIFA, Screen, Filmfare, Sony Guild, Zee Cine, ETC Bollywood Business & Stardust Awards

34 Awards 20 Awards 5 Awards 4 Awards 4 Awards

An array of awards

won by Eros

Best Film

Best Director

Best Actor

Best Story

Best Screenplay

Best Cinematography

Best Art Direction

Best Sound Design

Best Costume Design

Best Dialogue

Best Choreography

Best Actor in a Supporting

Role (Male)

Best Actor in a Supporting

Role (Female)

Best Child Artist

An array of awards

won by Eros

Best special effects

Best Background Score

Best Playback Singer

Best Debut (Male)

Best Debut Couple

Best Production Design

Best Action

Best actor in a Comic Role

Best Actor in a Negative

Role

Best Film- Bengali

Category

Best VFX

Top Grosser of the Year

300 Crore Club

100 Crore Club

Studio of the

Year

Excellence In

International

Distribution

Award

Award for Film

Distribution in

Mumbai, Delhi-UP,

East Punjab, West

Bengal and

Mysore

Eros International

PAGE 7

Eros Theatrical Production

Film by budget type(1)

FY ‘11 FY ‘12 FY ‘13 FY ‘14 FY ‘15 FY ‘16

High 3 5 6 4 6 6

Medium 10 5 13 21 11 16

Low 64 67 58 44 47 41

Total films(2)

77 77 77 69 64 63

(1) “High budget” films refer to Hindi films with direct production costs in excess of $8.5 million and Tamil as well as Telugu films with direct production costs in excess of $7.0 million; “Low budget” films refer to

both Hindi, Tamil, and Telugu films with less than $1.0 million in direct production costs; “Medium budget” films refer to Hindi, Tamil, and Telugu films within the remaining range of direct production costs

(2) Total films also includes regional films and films with overseas rights

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Forthcoming Releases

(1) Calendar subject to change

Film Name Language Star Cast/(Director/Producer) Tentative Release(1)

Rock On 2 Hindi Farhan Akhtar, Arjun Rampal / (Excel / Shujaat Saudagar) Q3 FY17

Kahani 2 (Overseas) Hindi Vidya Balan, Arjun Rampal / (Sujoy Ghosh) Q3 FY17

Chaar Sahibzaade 2 Punjabi 3D Animation / (Harry Baweja) Q3 FY17

Amar Prem Bengali Rudra, Shivangi / (Haranath Chakraborty) Q3 FY17

Double Faluda Bengali Feluda, Topse / (Sandip Ray) Q3 FY17

Enkitta Mothathe TamilNatraj Subramanian, Parvathy Nair, Sanchitta,Radha Ravi, Rajaji / (Ramu

Chellapa)Q3 FY17

Saarkar Raj 3 Hindi Amitabh Bachchan, Ronit Roy & Others / (Ram Gopal Verma) Q4 FY17

Ticket to Bollywood Hindi Amyra Dastoor, Diganth Manchale / (Eros) Q4 FY17

7 Kadam Hindi Amit Saadh, Diksha Seth, Ronit Roy & Others / (Mohit Kumar Jha) Q4 FY17

Oru Kidayin Karunai Manu Tamil Vidharth, Raveena / (Suresh Sangiah) Q4 FY17

Bibaho Diaries Bengali Ritwick Chakraborty, Sohini Sarkar / (Moinak Bhowmik) Q4 FY17

Care of Saira Banu Malayalam Manju Warrier, Amala Akineni, Shanenigam / (Antony Sony) Q4 FY17

Untitled Hindi Shahrukh Khan / (Anand L Rai -Color Yellow Productions) FY 18

Munna Michael Hindi Tiger Shroff, Nawazuddin Siddiqui / (Sabbir Khan) FY 18

Chanda Mama Door Ke Hindi Sushant Singh / (Sanjay Puran Singh) FY 18

Untitled Hindi Sushant Singh/ Homi Adjania (Maddock Films) FY 18

Sniff Hindi Amole Gupte / (Trinity Pictures) FY 18

Azaad Hindi Sabbir Khan / (Trinity Pictures) FY 18

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Forthcoming Releases (Contd.)

(1) Calendar subject to change

Film Name Language Star Cast/(Director/Producer) Tentative Release(1)

Buddy Cop Bilingual Krish / (Trinity Pictures) FY 18

Hathi Mera Sathi Hindi Prabhu Soloman / (Trinity Pictures) FY 18

Love in Beijing Indo-China Siddharth Anand / (Trinity Pictures) FY 18

The Zoo Keeper Indo-China Kabir Khan / (Trinity Pictures) FY 18

Untitled Hindi Vicky Kaushal, Shewta Tripathi / (Colour Yellow Productions) FY 18

Happy Bhaag Jayegi 2 Hindi Mudassar Aziz / (Colour Yellow Productions) FY 18

Vicky Donor 2 Hindi TBA FY 18

Manmarziyan Hindi Ayushmann Khuranna & Bhumi Pednekar / (Colour Yellow) FY 18

Reunion Hindi Sujoy Ghosh FY 18

Bhavesh Joshi Hindi Harshwardhan Kapoor, / (Vikramaditya Motwane) FY 18

Farzi Hindi Raj & DK FY 18

Badlapur 2 Hindi Sriram Raghavan FY 18

Nayak 2 Hindi TBA / (Deepak Mukut, Soham Rockstar Entertainment) FY 18

Untitled Hindi Rahul Dholakia FY 18

Nimmo Hindi Rahul Sanklya FY 18

Cobra Hindi Gurmeet Chaudhary, Sonarika, Anoop Sing / (Rajeev Jhaveri) FY 18

Jugadu Hindi Harman Baweja & Others FY 18

Guru Tegh Bahadur Punjabi 3D Animation / (Harry Baweja) FY 18

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Forthcoming Releases (Contd.)

(1) Calendar subject to change

Film Name Language Star Cast/(Director/Producer) Tentative Release(1)

Jaita Punjabi Harry Baweja FY 18

Yaanai Tamil Prabhu Solomon / (Trinity Pictures) FY 18

Untitled Tamil Vetrimaaran / (Colour Production) FY 18

Nervazhl Tamil Nayantara / (Bharath Krihnamachari) FY 18

Kadaisi Vivasayi Tamil TBA / Manikandan FY 18

Untitled Marathi Ravi Jadhav FY 18

Naale Malayalam Fahad Fazil, Malavika Mohan, Mukesh, KPAC, Lalitha / (Siju S Bava) FY 18

Posto Bengali Soumitra Chatterjee, Lily Chakraborty, Jisshu Sengupta (Windows) FY 18

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Trinity ‐ India’s first franchise film Studio, progressing in good momentum

4 films enter/ready to enter production; another 12 franchise concepts developed

• Trinity’s first franchise film Sniff – I Spy slated for an early FY18 release

and the first teaser to be out soon. Additionally, Sniff comics and mobile

games to hit the markets post film release

• Three other franchise films of Trinity – Azaad, Buddy Cop (bilingual film)

and Hathi Mera Saathi (working titles) are in advanced stages of

pre‐production & casting

• Both the Indo‐China co‐productions have entered into the pre‐production

and casting stage. One of the films to go on floors by April 2017

• Trinity Writers room has developed another 12 franchise concepts

across genres, which will now be taken to scripting stage

Our markets

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(1) Source: FICCI-KPMG Report 2016.

(2) “Other” includes radio, music, out of home, animation & VFX, gaming and digital advertising segments

Indian Media & Entertainment Market

’15 – ’20 CAGR

22.0%

10.5%

7.8%

15.1%

542.2 617.0709.6

823.3956.8

1,097.6

283.4305.2

329.6

355.9

383.6

412.5

138.2

158.7

174.1

190.0

207.8

227.3

193.2

234.1

288.7

354.8

431.8

522.6

2015 2016P 2017P 2018P 2019P 2020P

TV Print Film Other

1,157

1,315

1,502

1,724

1,980

2,260

Media & Entertainment Market Projected to Grow at 14%(1)

(2)

Rs. billion

PAGE 14

A rapidly growing economy(1)

39.1 36.8

31.3 27.3

Russia China Brazil India

Median age

India: High Growth and Attractive Fundamentals

(1) IMF World Economic Outlook as of April 2016, Real GDP corresponding to fiscal year, constant price

(2) CIA World Factbook (5/16/2016)

(3) Euromonitor International – 1 USD – Rs. 66.05

1.0

1.2

1.6

2000 2011 2050

(in billions)

With significant population expansion (1)

Highly favorable demographics(2) Increasing annual disposable income(3)

7.6%

6.1%

2.2% 2.1%

0.5%

India China US UK Brazil

Projected GDP growth CAGR (2015 – 2021E)

102,972 107,001115,786

124,636133,883

2012 2013 2014 2015 2016

(Rs. in billions)

Over the next 15 years India is expected to be the largest contributor of global GDP growth

PAGE 15

Rapid Growth for India’s Film Industry

138159

174190

208227

2015 2016P 2017P 2018P 2019P 2020P

Indian Film Industry seeing consistent revenue growth…(1) …with multiplex rollout fueling growth (2)

…in a highly underpenetrated market…(1) …and substantial room to increase pricing(3)

(1) FICCI-KPMG Report 2016, UK, France and Germany data FICCI-KPMG Report 2015

(2) CRISIL Research

(3) Magna Global, June 2014

Indian Film Revenue

44

292373

435491

603

976

India China Brazil Russia US UK Japan

Average Admissions Price(Rs.)

(Rs. billion) Number of Multiplexes in India(in thousands)

1.21.4 1.5 1.6

1.8 1.92.1 2.2

2011 2012 2013 2014P 2015P 2016P 2017P 2018P

6

57 61

85

126

23

India Germany UK France US China

Theatre screens per million population

PAGE 16

Growing Indian Television Market

1) Source: FICCI-KPMG Report 2016

...is Supported by Favorable Viewing Preferences(1)

…is Expected to Fuel Growth in the Indian TV Industry (1)

45%

22%

12%7%

42%36%

11%7%

Hindi GEC +Movies

Regional GEC +Movies

Kids + Music News

2014 2015

Percentage of viewing time spent

70+%

145

174

2015A 2020P

Total # of

TV

Households:200m175m

Increasing television household penetration…(1)

Willingness to pay for content…(1)

83%87%

2015A 2020P

Paid C&S TV Household Penetration (%)

181365

361

733

2015A 2020P

Advertising Revenue Subscription Revenue

542

1,098

(Rs in billion)

Indian Pay-TV subscriber base(in millions)

PAGE 17

(1) FICCI KPMG Report 2015 & 2016, TRAI and broker research

Compelling Digital Opportunity

India’s digital ad market at Rs. 255 billion in 2020(1)

Strong internet user growth(1)Internet penetration is still in early stages(1)

60.1

255.2

2015A 2020P

Digital advertising spend(Rs in billion)

Affordable smartphones driving internet growth(1)

Online ad spend as

% of total ad spend 26%7%

In October 2015 India reached 1 BILLION mobile phone subscribers

310.7

791.820.8

33.4

2015A 2020P

Wireless Wireline

(in millions)

331.5

825.2

180

690

2015A 2020P

Smartphones in India(in millions)

90% 87%

53%46%

27%

UK USA Brazil China India

PAGE 18

Language No. of films

released in

2014

Hindi 141

Tamil 203

Telugu 113

Kannada 118

Malayalam 151

Marathi 56

Bengali 68

Punjabi 41

Others 101

The Big Regional Opportunity

Over 1,000 films are released in

India each year across languages

Top Grossing

Film

Worldwide Box

Office INR &

USD

PK 735 cr ($115m)

Enthiran 283 cr ($44.2m)

Bahubali 600 cr ($94m)

Aptharakshasa 55 cr ($8.6m)

Drishyam 75 cr ($11.7m)

Sairat 110 cr ($16.7m)

Chander Pahar 15 cr ($2.3m)

Chaar Sahebzaade 70 cr ($11m)

The box office numbers suggest these are

not niche films. Contributions are significant

Typical

Production

Budgets

Typical

Print &

Advertising

$ 12 -15m $3.0m

$ 10 -12m $0.7m

$ 8 – 10m $0.5m

$ 4 – 5m $0.2m

$ 1.5 – 2.5m $0.2m

$ 1 – 2m $0.2m

$ 0.5 – 1m $0.1m

$ 1.5 – 2.5m $0.2m

Varying Budgets. Low P&A. High

Margins and Presales

In the context of shortage of theatres, the Regional strategy adds scale, market share and margins without cannibalization

A digital opportunity

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ErosNow is parent Eros International Plc’s on-demand entertainment portal

ErosNow: over 55m RegisteredUsers

Digital premieres, including recent super-hits Bajrangi Bhaijaan, Tanu Weds Manu Returns,

Prem Ratan Dhan Payo and Bajirao Mastani

ErosNow’s original content offering has begun with 'Salute Siachen', India's first ever celebrity

high endurance expedition to the Siachen Glacier

In addition, ErosNow originals such as Lost by Siddharth Anand, Smoke and Side Hero will be

launched in the forthcoming quarters

Unlike other OTT (“over-the-top content”) players, Eros owns much of the content on ErosNow

Available on all internet-enabled devices and fully integrated with the top social media outlets

globally

Eros India will participate in the long term value creation in the digital business

PAGE 21

Boosting platform distribution with Telcos & OEMs

ErosNow strategic

business alliance with LeEco,

China’s leading Internet and

Technology Group

Reliance Jio

Integrated on LeEco phones for the Indian

market with a one year ErosNow subscription

Bharti Airtel

Largest market share

of mobile subscribers

in India

Micromax

Second largest

handset manufacturer

in India

Idea Cellular

Third largest market

share of mobile

subscribers in India

Malaysian Telcos

Only Indian OTT

platform to penetrate

the growing Malaysian

market

ErosNow is parent Eros International Plc’s on-demand entertainment portal

LeEco

ErosNow’s compelling content of thousands of

movies from all decades on the Jio On Demand

entertainment offering

The most-anticipated 4G

digital platform in India

Financial Overview

4

PAGE 23

Strong Revenue Growth & Diversified Revenue Streams

7,159

9,632

10,74411,396

14,410

16,036

FY11 FY12 FY13 FY14 FY15 FY16

Strong Historical Revenue Growth

(1) High Budget for Hindi films>USD8.5mn, Tamil/Telugu/Regional>USD7mn, Low Budget for all languages <USD1mn and Medium Budget is the intermediate range, 1USD=Rs.61

Film by Budget

Type(1)FY11 FY12 FY13 FY14 FY15 FY16

High 3 5 6 4 6 6

Medium 10 5 13 21 11 16

Low 64 67 58 44 47 41

Total Films(2) 77 77 77 69 64 63

(Rs. in million)

Theatrical43.9%

Overseas26.1%

Television & Others

30.0%

Diversified Revenue Streams – FY16

10%12%

15%

22%

15%

FY12 FY13 FY14 FY15 FY16

Diversified Revenue Streams

*Company held back catalogue sales for

a limited period in FY16 to enhance

balance sheet efficiencies

Catalogue Contribution

PAGE 24

Solid Track Record of Profitability

.

EBIT PAT

1,613

2,257 2,262

2,997

3,615

3,375

FY11 FY12 FY13 FY14 FY15 FY16

(Rs. in million) (Rs. in million)

1,172

1,4781,545

1,997

2,471

2,141

FY11 FY12 FY13 FY14 FY15 FY16

16.5% 15.5% 14.5% 17.5% 17.1% 13.4%% Margin 22.5% 23.4% 21.1% 26.3% 25.1% 21.0%

PAGE 25

Figures in INR million H1 FY 2017 H1 FY2016

Revenue 8,991 mn 9,906 mn

EBIT 1,782 mn 2,345 mn

PAT (after minority) 1,219 mn 1,468 mn

PAT Margin 13.6% 14.8%

Diluted EPS (Rs.) 12.78 15.60

Robust Half-yearly Performance

• Portfolio of successful films released include Dishoom, Janatha Garage, Baar Baar Dekho, Happy Bhaag Jayegi, Banjo

Housefull 3, Ki and Ka, Nil Battey Sannata, Sardaar Gabbar Singh (Telugu), 24 (Tamil) amongst others

• Pre-sales of the film slate remains strong with 110% of the cost of the film slate covered before release in H1 FY 2017

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Figures in INR million As on Sept 30, 2016 As on March 31, 2016

Debt 4,324 mn 4,171 mn

Cash 1,951 mn 3,099 mn

Net Debt 2,373 mn 1,072 mn

Net Debt / Equity Ratio 0.12 0.06

Conservative Balance Sheet

PAGE 27

Certain statements in this presentation concerning the future growth prospects are forward looking statements, which involve a number of risks and

uncertainties that could cause actual results to differ materially from those in such forward-looking statements. In some cases, these forward-

looking statements can be identified by the use of forward-looking terminology, including the terms “believes”, “estimates”, “forecasts”, “plans”,

“prepares”, “projects” “anticipates”, “expects”, “intends”, “may”, “will” or “should” or, in each case, their negative or other variations or comparable

terminology, or by discussions of strategy, plans, objectives, goals, future events or intentions. These forward-looking statements include all

matters that are not historical facts. They appear in a number of places throughout this presentation and include, but are not limited to, statements

regarding the Company’s intentions, beliefs or current expectations concerning, among other things, the Company’s results of operations, financial

condition, liquidity, prospects, growth, strategies, business development, the markets in which the Company operates, expected changes in the

Company’s margins, certain cost or expense items as a percentage of the Company’s revenues, the Company’s relationships with theater

operators and industry participants, the Company’s ability to source film content, the completion or release of the Company’s films and the

popularity thereof, the Company’s ability to maintain and acquire rights to film content, the Company’s dependence on the Indian box office

success of its films, the Company’s ability to recoup box office revenues, the Company’s ability to compete in the Indian film industry, the

Company’s ability to protect its intellectual property rights and its ability to respond to technological changes, the Company’s contingent liabilities,

general economic and political conditions in India, including fiscal policy and regulatory changes in the Indian film industry. By their nature, forward-

looking statements involve known and unknown risk and uncertainty because they relate to future events and circumstances. Forward-looking

statements speak only as of the date they are made and are not guarantees of future performance and the actual results of the Company’s

operations, financial condition and liquidity, and the development of the markets and the industry in which the Company operates may differ

materially from those described in, or suggested by, the forward-looking statements contained in these materials. The forward-looking statements

in this presentation are made only as of the date hereof and the Company undertakes no obligation to update or revise any forward-looking

statement, whether as a result of current or future events or otherwise, except as required by law or applicable rules.

Important notice and disclaimer