Latest news with #Kandhari
Yahoo
14-07-2025
- Business
- Yahoo
India Coke bottler Kandhari expands with Wave Beverages acquisition
Coca-Cola bottler Kandhari Global Beverages has acquired the bottling operations of fellow India-based drinks group Wave Beverages. The financial details of the acquisition were not disclosed. However, Indian business daily The Economic Times, citing sources, reported Kandhari has paid approximately Rs10bn ($116.3m) for the assets. In a brief statement on LinkedIn, Kandhari said the move 'significantly enhances our operational footprint in Punjab and Himachal Pradesh'. Kandhari has operations in the Indian states of Jammu & Kashmir, Haryana, Gujrat and some parts of the capital Delhi. The group added the deal would also see the company 'deepen our commitment to regional markets, bringing us closer to our consumers, and enabling us to serve them more efficiently with Coca-Cola's world-class portfolio'. The acquisition follows Kandhari's purchase of bottling operations in northern Gujarat and Diu from Hindustan Coca-Cola Beverages (HCCB). 'Together, these steps reflect our aggressive growth strategy and our confidence in the resilience and potential of the Indian beverage market,' Kandhari said on LinkedIn. Wave Beverages, an independent Coca-Cola bottler, was part of the Noida-based Wave Group. 'The move consolidates Coca-Cola's independent bottling structure ... It also marks the near-exit of the diversified Wave Global from Coca-Cola's bottling business," an unnamed source quoted by ET said. In December, Coca-Cola agreed to sell a 40% stake in Hindustan Coca-Cola Holdings, the owner of HCCB, to Jubilant Bhartia Group. In the same month, HCCB sold its bottling operations in Jharkhand to Moon Beverages. At the start of last year, the group offloaded three bottling operations to SLMG Beverages, Moon Beverages and Kandhari. Kandhari, as reported by the ET, said: 'This summer has been challenging on account of the rains. But there is enough bandwidth with pricing, packs and distribution strategies to continue with strong growth for the full year.' "India Coke bottler Kandhari expands with Wave Beverages acquisition " was originally created and published by Just Drinks, a GlobalData owned brand. The information on this site has been included in good faith for general informational purposes only. It is not intended to amount to advice on which you should rely, and we give no representation, warranty or guarantee, whether express or implied as to its accuracy or completeness. You must obtain professional or specialist advice before taking, or refraining from, any action on the basis of the content on our site. Sign in to access your portfolio
Economic Times
10-07-2025
- Business
- Economic Times
Coca-Cola bottler Kandhari acquires Wave Beverages
Synopsis Kandhari Global Beverages has acquired Wave Beverages' bottling operations for Coca-Cola. The deal is valued at approximately ₹1,000 crore. This acquisition expands Kandhari Global's reach in Punjab and Himachal Pradesh. It follows their earlier purchase of Coca-Cola's North Gujarat bottling operations. The move consolidates Coca-Cola's bottling structure in India. India is Coca-Cola's fifth largest market by volume sales. Reuters Representative image. New Delhi: One of Coca-Cola's top bottling partners in India, Kandhari Global Beverages, has acquired Wave Beverages' bottling operations for the American soft-drinks maker for about ₹1,000 crore, people directly aware of the matter Global managing director Varinder Pal Singh Kandhari confirmed the transaction that will help his company take over Wave Beverages' bottling territories in parts of Punjab and Himachal Pradesh as it expands operations in the northern and western markets. He declined to comment on the financial deal comes five months after Kandhari Global bought Coca-Cola's North Gujarat bottling operations for ₹2,000 crore. That bottling business was acquired from Coca-Cola's own bottling company Hindustan Coca-Cola Beverages (HCCB). Wave Beverages is an independent bottler for Coca-Cola and was part of the Noida-based Wave Group. "The move consolidates Coca-Cola's independent bottling structure ... It also marks the near-exit of the diversified Wave Global from Coca-Cola's bottling business," one of the people said. Coca-Cola sold a 40% stake in HCCB to the Jubilant Bhartia Group for ₹12,500 crore ($1.47 billion) under a deal announced in December last year. The Atlanta-based beverages maker has 15 manufacturing plants. The remaining bottling operations are split among 10 independent franchise partners such as Kandhari Global Beverages, Moon Beverages and SLMG Beverages. Coca-Cola sells concentrate to the bottlers who produce the beverages and distribute them. Kandhari Global has existing bottling operations in Jammu & Kashmir, Haryana, most of Punjab, Himachal Pradesh, Rajasthan, North Gujarat and parts of Delhi."This (acquisition) makes us (one of) Coca-Cola's top-two independent bottling partners. In future, we may explore expanding our operations globally, which will depend on Coca-Cola's requirements," Kandhari told is Coca-Cola's fifth largest market by volume sales, and the company leads the soft drink market, industry sources said citing data from market research firm NielsenIQ. The April-June quarter, the most crucial for soft-drink sales in India as it is the peak summer season, has been underwhelming this year for Coca-Cola and other beverage makers as temperatures remained relatively cooler due to unseasonal rains."This summer has been challenging on account of the rains. But there is enough bandwidth with pricing, packs and distribution strategies to continue with strong growth for the full year," Kandhari said.A report from think tank ICRIER estimated India's beverages industry, including carbonated soft drinks, juices and water, to be ₹67,000 crore in sales in 2024. It projected the market to reach ₹1.47 lakh crore by the report's findings suggest the growth potential of the market, competition has also intensified with the entry of Reliance Consumer Products-owned Campa.
Time of India
10-07-2025
- Business
- Time of India
Coca-Cola bottler Kandhari acquires Wave Beverages
Live Events (You can now subscribe to our (You can now subscribe to our Economic Times WhatsApp channel New Delhi: One of Coca-Cola's top bottling partners in India, Kandhari Global Beverages , has acquired Wave Beverages' bottling operations for the American soft-drinks maker for about ₹1,000 crore, people directly aware of the matter Global managing director Varinder Pal Singh Kandhari confirmed the transaction that will help his company take over Wave Beverages' bottling territories in parts of Punjab and Himachal Pradesh as it expands operations in the northern and western declined to comment on the financial deal comes five months after Kandhari Global bought Coca-Cola's North Gujarat bottling operations for ₹2,000 crore. That bottling business was acquired from Coca-Cola's own bottling company Hindustan Coca-Cola Beverages (HCCB). Wave Beverages is an independent bottler for Coca-Cola and was part of the Noida-based Wave Group. "The move consolidates Coca-Cola's independent bottling structure ... It also marks the near-exit of the diversified Wave Global from Coca-Cola's bottling business," one of the people sold a 40% stake in HCCB to the Jubilant Bhartia Group for ₹12,500 crore ($1.47 billion) under a deal announced in December last year. The Atlanta-based beverages maker has 15 manufacturing plants. The remaining bottling operations are split among 10 independent franchise partners such as Kandhari Global Beverages, Moon Beverages and SLMG Beverages. Coca-Cola sells concentrate to the bottlers who produce the beverages and distribute Global has existing bottling operations in Jammu & Kashmir, Haryana, most of Punjab, Himachal Pradesh, Rajasthan, North Gujarat and parts of Delhi."This (acquisition) makes us (one of) Coca-Cola's top-two independent bottling partners. In future, we may explore expanding our operations globally, which will depend on Coca-Cola's requirements," Kandhari told is Coca-Cola's fifth largest market by volume sales, and the company leads the soft drink market, industry sources said citing data from market research firm NielsenIQ. The April-June quarter, the most crucial for soft-drink sales in India as it is the peak summer season, has been underwhelming this year for Coca-Cola and other beverage makers as temperatures remained relatively cooler due to unseasonal rains."This summer has been challenging on account of the rains. But there is enough bandwidth with pricing, packs and distribution strategies to continue with strong growth for the full year," Kandhari said.A report from think tank ICRIER estimated India's beverages industry, including carbonated soft drinks, juices and water, to be ₹67,000 crore in sales in 2024. It projected the market to reach ₹1.47 lakh crore by the report's findings suggest the growth potential of the market, competition has also intensified with the entry of Reliance Consumer Products-owned Campa.
The Wire
04-06-2025
- Entertainment
- The Wire
‘Sister Midnight' Is a Feel-Bad Fable That Liberates Radhika Apte From Bollywood
A still from Sister Midnight. Screengrab from video. Real journalism holds power accountable Since 2015, The Wire has done just that. But we can continue only with your support. Contribute Now Even though it is widely known, I don't think enough gets written about how much of a nightmare it is to watch a film in its 'purest' form in India. One can overlook the overzealous censors that infantilise the audience with humongous smoking warnings, even for films rated 'A', desecrating the work of any self-respecting filmmaker. Along with that, most ambitious films play in sparsely-populated theatres. The screening for Karan Kandhari's Sister Midnight that I attended in Bengaluru had about a dozen audience members. I have a feeling I would've enjoyed the film more if I'd seen it in a packed theatre because it has many visual gags, and most of them are spot on. Also, muted cuss words can feel like sensory speed bumps even if one can decipher them by reading the lip movement. I wondered how the British-Indian director reacted to the alterations? But hey, at least the film released, unlike Sandhya Suri's Santosh (2024). A still from Sister Midnight. Screengrab from video. Kandhari's film, also produced in the UK, has the irreverence and an energy that no Bollywood film could muster in 2025 (or a film like this couldn't get funding in India right now). Intent on feel-good fables on newly married couples, where the demure bride discovers her agency in the finale (like say, Laapataa Ladies or Mrs), Kandhari's film could be labelled a feel-bad fable. Offering Radhika Apte the license to be at her most unhinged, especially after being repeatedly let-down by most films and directors, in one clean stroke, Kandhari liberates her from Bollywood. This might be the rare film where the 39-year-old actor's bravery is reciprocated. Uma (Apte) and Gopal (Ashok Pathak) are a newly-married couple navigating the initial awkwardness of an arranged marriage. The first time we see them, she's concerned about living in a city like Mumbai, while he's asleep. They're dumped in a one-room chawl in one of those back alleys in Bandra/Khar – ones that bustle with hawkers, autorickshaws in the mornings, and become dead silent at night. Gopal isn't the most expressive – on his first day after their marriage, he leaves for work without saying a word. To make matters worse, he comes back home drunk at night, not bothered about how Uma spent the day in this fully alien environment. A still from Sister Midnight. Screengrab from video. But it's not just him who is socially not equipped to play the part of 'husband'. If anything, Uma looks even more troubled by this life sentence of domesticity. She can't fathom her responsibility as a wife. Torn between understanding her 'duty' of providing the carnal pleasures of marriage, and fully aware of how completely ill-prepared she is to play the role of a homemaker, Uma suffocates, and then takes defiant strides to find her happiness. The first hour of Kandhari's film is a sensational study of arranged marriages and their deeply patriarchal nature, as much as about a life in an unforgiving metropolis like Mumbai. Gopal and Uma's chawl never feels like a set; one can almost smell the damp air, feel the heat trapped from the asbestos roofing and taste the humidity. What I found strained to believe in the film is how it shows Uma walking up and down from Khar to Fort everyday, for a job she takes up in a shipping company as a late-night janitor. Chhaya Kadam – India's resident character actor to showcase a middle-aged woman doling out advice to wet-around-their-ears women – plays Sheetal, the neighbour on the other side of a thin ply that separates her home from Uma and Gopal's. Kadam's wry, matter-of-fact delivery deepens the enigma of Uma's sense of displacement in Mumbai. Smita Tambe, playing Uma's nosy neighbour Reshma, is a delight. She's at the receiving end of Uma's best, most crude line, which is unfortunately muted in the version playing in Indian theatres. A still from Sister Midnight. Screengrab from video. I also liked the dynamic Apte and Pathak share on-screen. Uma's profane mouth and utter disregard for household work is balanced by Gopal's quiet fragility. His ignorance is not entirely intentional, some of it is also social awkwardness. He never asks her where she's coming from, holding a bucket and a mop, even though she can't clean their house. He eats out of polythene bags of rice and dal, too polite to confront Uma about why she hasn't cooked him a meal. Even though Uma is the author-backed role in the film, Pathak makes Gopal this luminous being, aware of his less-than-impressive face, so he tries to compensate with his soft, passive presence – never going on to become an obstacle in the path of his abrasive wife. As Uma, Apte delivers a physical performance for the ages. Saying the darndest of things, while shedding every last inch of vanity (from scratching her bum to projectile vomiting multiple times) – she never tries to lessen the blow of Uma as an anti-heroine. The best compliment I can think of paying Apte and Kandhari is how they never try to mine sympathy for Uma, and yet they also never let her become sub-human (even when the film dives deep into the pit of genre). It's in the second hour, and the longer Kandhari commits to the absurdity of his chosen genre, that the film begins to seem clueless about where it's headed. The whimsicality of the first hour – especially Paul Banks' score that features classical rock, grunge, blues, wonderfully at odds with bustling Mumbai compositions and its arid outskirts – becomes less novel towards the end. Especially, once we realise Kandhari hasn't quite figured out a way to make it land. The reflective commentary around Uma-Gopal's dysfunctional marriage – and how some people are simply not cut-out for 'conjugal bliss' – doesn't reach the heights I imagined; the messaging instead becomes garbled. Apte still swings for the fences till the last scene, but the film (with some dodgy VFX) starts to look less than what was initially promised. As it concludes, it's impossible to not admire the storm that is Karan Kandhari's Sister Midnight – even if it leaves behind a whole lot of wreckage in its wake. Such beautiful wreckage. *Sister Midnight is playing in theatres The Wire is now on WhatsApp. Follow our channel for sharp analysis and opinions on the latest developments.
The Hindu
02-06-2025
- Entertainment
- The Hindu
‘Sister Midnight' movie review: Radhika Apte elevates this punk black comedy
At first glance, Sister Midnight, Karan Kandhari's morbidly funny debut feature, looks like a static portrait of marital inertia. There's a new bride pouting in a Mumbai chawl, slumped under the weight of expectations and boredom. The frequently immobile camera watches as Radhika Apte's Uma shuffles around her one-room box of a home, staring into the infinity of its walls. For a while, that's about it. Just a slow-motion descent into the slow cooker of domestic life that's almost aggressively mundane. But the trick of Sister Midnight is that this banality is the bait, and soon enough the hook reveals itself. Beneath the macabre sitcom setup and the Wes Anderson-like symmetry, there's something far stranger going on. Uma chances upon a goat, dead birds begin to accumulate, but at least her fever has subsided. Having begun the film as a grumpy wife, Uma starts to mutate into something else entirely. Kandhari, who is Indian by origin but London-based, channels a particularly diasporic vision of Mumbai that's intimate, but also quite surreal. The film's chawl setting is crammed with gossiping aunties and open windows and often feels claustrophobic, but also buzzes with a foreboding menace. Cinematographer Sverre Sordal lights these back alleys like dream sequences. Drab fluorescent interiors clash with sinister noirish shadows, and everything looks just slightly off. Much of the movie rests on Apte's shoulders, and she carries it like a woman hauling centuries of baggage. Uma sulks, spits, stomps, slouches, and seethes. Her barbs feel militant, and even her silences throb with insult. There's barely any exposition, but Apte and Kandhari give us all we need from a single glance on her hostage-sequence-like wedding night, to her soft-spoken husband's polite refusals for any semblance of intimacy. Sister Midnight (Hindi) Director: Karan Kandhari Cast: Radhika Apte, Ashok Pathak, Chhaya Kadam, Smita Tambe, Subhash Chandra Runtime: 110 minutes Storyline: In Mumbai, an arranged marriage spirals into darkness as the spineless husband watches his wife morph into a ruthless, feral force The genre gradually slides out from under the bed. The first half is kitchen sink absurdism, while the second has a fable-like feel to it. Kandhari doesn't make the transition seamless, but he makes it feel earned. The bratty interloper in Uma soon grows into something more mythic. Her transformation into a symbolic stand-in for Kali is teased through colour, gesture, and ritual. Her face even glows blue at just the right moment, and one character even remarks she's 'looking a bit more kali today,' with just the right weight that pun deserves. The film is peppered with delightful digressions like a Kurosawa parody playing on a teahouse television, a band of helpful trans women offering some chai and a shoulder, and a sombre lift operator who seems to be Uma's only emotional peer. Kandhari never quite ties these threads into a cohesive tapestry, but that's part of the point. His world is stitched together from the freakish leftovers of society. Kandhari's flirtations with vampire mythology are quite provocative and fun to witness. With its jarring edits, brash needle-drops, and near-expressionist lighting, the film channels a feral, Jaramuschian brand of punk, using the undead as metaphors for the unkillable rage of a woman who's had enough. However, Sister Midnight does sometimes lose control of its tone. The slapstick rhythms of its jump cuts, whip pans and sound gags begin to feel mechanised by the one-hour mark, and its tight visual language also becomes something of a constraint, as though the story is trying to scream through a very tiny symmetrical window. Sister Midnight is not a tidy film, and often lacks consistency. But it's thrillingly alive, especially in how it weaponises discomfort and turns the Yellow Wallpaper-trope of the neglected housewife into something folkloric. Kandhari's instincts occasionally betray him when he throws in a few too many motifs without always knowing where they land, but he's unmistakably a filmmaker with a vision, and a wicked sense of humour. Sister Midnight is currently running in theatres
