The company, which describes itself as the leading entertainment service for emerging markets, announced that it has amassed more than 15 million subscribers, an increase of 250% since January.
Reflecting those growing user numbers, it said that aggregate content consumption since launch had doubled in the past five months, to 22.8 billion minutes.
Iflix says that it is “evolv(ing) away from the traditional Western SVoD model” and developing programming and features that target mass users and younger, digital savvy segments. It also acknowledges that long-term, recurring subscriptions, like a fixed line cable connection, may not be an appropriate measure in its Asian, African and Middle Eastern markets.
The subscriber figure it quotes represents “essentially, anyone who has registered for service since still in their 30-day trial, and includes all paid subs (retail and sponsored) + trials.” Registered users of its newly-launched free tier are not included.
The company recently rolled out its iflix 3.0 iteration which offers four content pillars, including free of charge kids, news and originals programming strands as well as improved functionality. “iflix 3.0 offers customers more than 40,000 hours of cinematic quality, culturally rich, engaging and relevant content from 600 studios and content creators over a broad range of genres, as well as 40 Free-to-Air (FTA) channels.”
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It aims to gain a hold through live sports coverage. It has deals with Football Malaysia to stream matches and live streamed the World Cup via its Kwese Iflix service in Africa. The roster also includes Bangladesh cricket, Formula E motor racing and live concerts (Korean-sensation BTS and Myanmar’s Sai Sai.)
Launched by the Catcha group, Iflix raised $220 million of capital last year. Its investors include Sky, Liberty Global and Hearst.
“The huge growth we’ve seen across the business is a testament to that commitment (to meeting emerging markets needs). We have one goal and that is to make iflix ubiquitous across emerging markets,” said CEO Mark Britt, in a statement.