Corporate presentation
June 2015
1
Eros the leading Indian film studio
Executive Summary
Eros: a media company transforming into a digital company
1
A global leader in Indian film entertainment with strong box office market share
2
Strong revenue growth and solid track record of profitability
3
ErosNow strategically positioned to capture large digital opportunity in India
4
Robust India macro landscape with highly attractive fundamentals
5
Large content library of Indian language films, 3,000+, and music
PAGE 2
Content is King
New film mix
65-70 films
each year
Co-production
Acquisition
Trinity
Pictures
•Hindi
•Regional
language
•International
agreements
Exclusive premiere window
3,000+ film library
(1 year after Theatrical Release)
PAGE 3
Eros: A Multi-Platform Model
 Leading player in a growing and underpenetrated cinema market
Theatrical
Eros has had an average 3 out of top 10 India Box Office hits for the past five years
Film pre-sales facilitated by long-standing Eros brand, reputation and industry relationships
Television
 Cable digitisation and rising Pay TV penetration drive market growth and demand for premium content
Eros film library of over 2,300 films is a stable source of revenue growth with high margins
 India is projected to have over 1 billion internet users in the next 15 years
Digital and
Ancillary
ErosNow is the leading Indian digital content platform with global reach
Exclusive content provides high barrier to entry
We are strategically positioned as a leader in our segments and able to monetise
through multiple channels globally
$
Theatrical
TV Syndication
Freemium
Pay Per View
Subscription
Advertising
Bundled Services
PAGE 4
Leading Theatrical Market Share
Participation in Average 3 of the Top 10 Releases in India Each Year(1)
$23.3m
$16.5m
$8.8m
Leading Market Share in United States(2)
Others
16%
Eros
32%
Fox
4%
Reliance
12%
$25.7m
$24.5m
$19.3m
YRF
14%
$14.5m
$20.4m
$19.8m
UTV
22%
Leading Market Share in United Kingdom(2)
Other
15%
$17.4m
$ 32.2m
$19.9m
Fox
5%
Eros
35%
Reliance
11%
$22.8m
$ 18.5m
$15.8m
YRF
14%
UTV
20%
(1) Includes films only distributed internationally by Eros. 3 of the Top 10 grossing Hindi films in CY’10 (Source: BoxOfficeIndia.com); 4 of the Top 10 Hindi films in CY’11 (Source: BoxOfficeIndia.com); 2 of the
Top 10 Hindi films in CY’12 (Source: bollywoodhungama.com); 4 out of top 10 Hindi releases in CY’13 (Source: bollywoodhungama.com); 3 out of top 10 Hindi releases in CY’14 (Source:
bollywoodhungama.com). Rupees converted to USD at average annual exchange rate.
(2) Represents market share of all theatrically released Indian language films 2011-2014 (Source: Rentrak)
PAGE 5
Diversified, Strong Revenue Growth
Revenue Mix by Channel
Strong Historical Revenue Growth
($ in millions)
Digital &
Ancillary
21%
$284
$207
$156
$150
$215
$236
Theatrical
43%
$165
$113
$66
Television
36%
FY' 07
FY' 08
FY' 09
FY' 10
FY' 11
FY' 12
FY' 13
FY' 14
FY' 15
Revenue Mix by Geography
Solid Track Record of Profitability
($ in millions)
$101
Rest of the
World, 42%
$80
$67
$60
$48
$54
$56
$54
North
America,
7%
$33
FY' 07
FY' 08
FY' 09
FY' 10
FY' 11
FY' 12
FY' 13
FY' 14
FY' 15
India, 39%
Europe,
12%
PAGE 6
Our Diversified Revenue Streams
Description
Revenue Performance
 Leading market share of Indian language films in India, UK and US
$123
 Broad, well-established global distribution network
1
Theatrical
 Film releases in 50 countries and 25 languages
$50
 Portfolio approach by film, budget, genre and language
 Regional language films are a key focus area
FY10
 License film content to content aggregators to reach Cable and Pay TV
Television
2
FY15
$101
subscribers
 Long-term value in TV syndication from ongoing bundling of library
$53
content with new film releases
FY10
 ErosNow has over 19m registered users
Digital
3
 Music sales from new release film soundtracks and our library catalogue
FY15
$60
$47
 SVOD and VOD offerings in international markets (US, UK, Asia, etc)
 High growth as digitization of media increases across all platforms
FY10
FY15
Source: Website, company information and equity research
PAGE 7
2
Our markets
Indian Media & Entertainment
Market
Media & Entertainment Market Projected to Grow at 14%(1)
($ in billions)
$28
$25
$21
$19
$16
$3
$3
’14 – ’19 CAGR
$6
19.8%
$5
$3
$5
10.0%
$3
$6
$3
$6
$3
8.0%
$5
$2
$2
$4
$4
$32
$5
$5
$8
$9
$10
2014A
2015E
2016E
Television
$16
$14
$12
15.5%
2017E
Print
Film
2018E
2019E
Other (2)
(1) Source: FICCI-KPMG Report 2015. Rupees converted to USD at 62.19
(2) “Other” includes radio, music, out of home, animation & VFX, gaming and digital advertising segments
PAGE 9
India: High Growth and Attractive
Fundamentals
A rapidly growing economy…(1)
With significant population expansion…(2)
(in billions)
Projected GDP Growth CAGR (2014 - 2020)
Population
2.0
12.7%
1.6
1.5
1.2
8.1%
7.6%
1
1.0
4.3%
4.0%
0.5
India
China
Brazil
United States
United
Kingdom
0.0
2000
Highly favorable demographics(3)
2050
Increasing annual disposable income(4)
($ in billions)
Median age
38.9
2011
$1,863
36.7
30.7
$1,744
27.0
$1,616
$1,559
Russia
(1)
(2)
(3)
(4)
China
Brazil
India
2012
2013
2014
2015
IMF World Economic Outlook as of April 2015, Nominal GDP corresponding to fiscal year, current price
FICCI-KPMG 2014 & 2015 Report
CIA World Factbook (5/22/2015)
Euromonitor International
PAGE 10
Rapid Growth for India’s Film
Industry
Theatres seeing consistent YoY revenue growth…(1)
($ in billions)
…with multiplex rollout fuelling growth…(2)
(in thousands)
Indian Domestic Theatrical Revenue
1.4
1.2
2.0
2.3
1.5
1.8
2.1
1.6
2014
2015E
2016E
2017E
2018E
2019E
…in a highly underpenetrated market…(3)
Theatre screens per million population
125
Multiplexes in India
2011
2012
1.8
1.6
1.5
2013
2014E
2015E
1.9
2016E
2.2
2.1
2017E
2018E
…with substantial room to increase pricing(4)
($ in USD)
Average Admissions Price
15.7
85
57
9.7
61
4.7
7
India
(1)
(2)
(3)
(4)
6.0
7.0
7.9
0.7
Germany
UK
France
US
India
China
Brazil
Russia
US
UK
Japan
FICCI-KPMG Report 2015; Rupees converted to USD at 62.19
CRISIL Research
FICCI frames 2014
Magna Global, June 2014
PAGE 11
Growing Indian Television Market
Increasing television household penetration…(1)
TV Household Penetration (%)
…is expected to fuel growth in the Indian TV industry(2)
($ in billions)
71%
61%
$11
$5
$5
$2
2014
Total # of
Households:
168m
196m
Willingness to pay for content…(1)
(in millions)
2014A
2019E
2019E
Advertisement revenue
Subscription revenue
...is supported by favorable viewing preferences(1)
Percentage of viewing time spent
Indian Pay-TV subscriber base
45%
70+%
187
149
18%
11%
2014A
(1)
(2)
2019E
Hindi GEC +
Movies
Regional
Channels
Kids + Music
7%
News
Source: FICCI-KPMG Report 2015
Source: FICCI-KPMG Report 2015; Rupees converted to USD at 62.19
PAGE 12
Compelling Digital Opportunity
Internet penetration is still in early stages(1)
90%
Strong mobile internet user growth(1)
Mobile Internet Users in India
(in millions)
87%
457
399
53%
342
46%
286
232
19%
UK
USA
Brazil
China
India
India’s digital ad market to reach c$2.8bn by 2020
Online advertising spend
($ in millions)
173
2014E
2015E
2016E
2017E
2018E
2019E
Mobile advertising to be largest component
($ in millions)
2020 share of online ad spend
$2,767
Mobile, $858
Social
Media, $830
$ 452
Display,
$208
FY' 14
Online ad spend as
% of total ad spend
Email, $42
FY' 20
7%
19%
Search,
$415
Video, $415
(1) FICCI KPMG Report 2015, and broker research
PAGE 13
Highly Engaged, Large Digital
User Base
173mm
243mm
Indian users
access via mobile
Internet Users
28%
217
India’s Youth Online
Increase in Facebook
Visitors in the Past Year
Minutes Spent on
Facebook on Average
86%
27%
of Indian Web
Users on Social Media
Yearly Increase in
Online Video Audience
Lead to increasing amount of digital content
23.3
Total Minutes
BILLION
54 Million
Unique Video Viewers
3.7 Billion
Total Videos
432 Minutes
Per User
23.3 Billion
Total Minutes
Source: Accenture Video Solutions Survey, 2013; indexmundi, eMarketer, comScore
PAGE 14
International markets
Rest of the world
China

$4.8 Billion
34%
Chinese Movie Market
2013-2014 growth


23,600
600
Total Screens in 2014
Films produced in 2014

Global demand for Bollywood content , especially in
Europe and Southeast Asia
Large South Asian Diaspora
Arrangement with local distributors across the global to
target theatrical, TV and DVD releases
Already well established in Germany, Russia, China,
Japan, Korea, Taiwan, Indonesia
Influential partnerships secured in China



Partnerships with three major Chinese state-owned film and
entertainment companies to promote, co-produce and distribute
Sino-Indian films across all platforms in India & China
Large and growing Chinese Box Office
Partnering with the best Chinese film companies
High-reward long-term opportunity
China Film Group
Corporation
 Co-produce motion picture, Tang
Xuan Zang, starring China’s most
popular and multi-faceted actor,
Huang Xiaoming
Shanghai Film Group
Corporation
 Explore exploitation of IP rights owned
by both companies and develop /
produce / distribution films in both
India & China
Fudan University
 Eros to license Fudan’s IP for remakes
or co-productions in India
 Eros to gain publishing licenses for
strategic film distribution in China
Source: Eros International Press Release
PAGE 15
3
A digital transformation
ErosNow: over 19m Registered
Users





A subscription-based on-demand entertainment portal with over
19 million registered users
Subscribers have access to 10,000+ content offerings including
movies, music tracks, music videos, TV episodes and original
videos
Exclusive film premieres available to all users, including recent
super-hit Tanu Weds Manu Returns
Unlike other OTT (“over-the-top content”) players, Eros owns
much of the content on ErosNow
Tanu Weds Manu Returns
Film Studios
Available on all internet-enabled devices and fully integrated
with the top social media outlets globally
Music Labels
TIMES
music
TV Networks
ErosNow is ideally positioned to capitalise on growing internet penetration and
benefits from high barriers to entry
(1) Through integration with TechZone, an Eros International company
PAGE 17
ErosNow: Uniquely Positioned for
Growth
ErosNow’s large content library and expanding digital market has positioned the
platform for rapid growth in subscribers ahead of global market peers.
Netflix maximized value
when it transformed to a
content owner and
producer. Eros’ starting
point is content ownership.
Digital Company
Content owner and
producer
Tech/Digital Platform
Content
aggregator/DVD
service
VALUE
Tech Platform
TIME
PAGE 18
Eros Now: Monetization Model
Monetization Model
Subscription
Revenue
Advertising
Revenue
Premium Users
Free Users
Transaction
Revenue
Transactional
Users
WAP Users
Syndication
Revenue
Other Niche Platform
TV & Online

Monthly recurring base of premium users enjoy unlimited access to premium content, with features such as HD
quality viewing, Dolby sound and multi-language subtitles

Free users have access to a large pool of content and will be monetized through online advertising

Transactional model allows for lower price point WAP purchases of ringtones, wallpapers and long and short form
content

Syndication of proprietary original content to niche television and online platforms
PAGE 19
Eros Now: Expansion Opportunities
Total
Addressable
Market
1
Online Advertising


2
Against the backdrop of increasing 3G/4G data penetration, online and mobile advertising are
garnering an increasing share of total advertising spend
c$600m
Acceleration of TV ad revenue shifting to digital
E-Commerce

Represents a large opportunity for Eros in marketing and branding, and also creates a new,
profitable revenue stream

Offers the ability for consumers to purchase character-related merchandise in real-time
3
$13
billion in
2017 in
India
Data Analytics

Eros is uniquely positioned to collect user behavior and monetize efficiently to providers of
database and direct marketing, enterprise CRM marketing software, market research and data
acquisition and analytics / optimization services
Nascent
market in
India
PAGE 20
ErosNow: The Promise of Endless
Entertainment
Music
Movies
Pioneering new content
Original long-form content
Originals
TV
Original short-form content
 Original programming under
production
 Broad range of genres from fantasy
and adventure to romance and thriller
 Expected launch: FY’ 16
 Initial ErosNow viewing window
followed by wide TV syndication
PAGE 21
Roadmap for Profitable Growth
Scalable content mix
New markets driving growth
Riding the digital wave
Maintain focus on high
ROI film projects –
including franchise films
Capitalize on growth in
new international
markets, e.g. China
Pioneer new, original
content to target a wide
audience
Increase regional output
to meet rising demand
Meet growing Indian
domestic demand for
quality films as channel
proliferation accelerates
Continue to build-out
content offering in film,
TV and music to exploit
on our platform
China co-production
opportunities
Reinforcing brand and
“best-in-class” interface
Continue to bundle
library with new release
product
PAGE 22
4
FY’ 15 Financial Highlights
Conservative Balance Sheet
Commentary
Select Balance Sheet Items
($ in millions)
March 31, 2015
 £50 million UK retail bond maturing in
2021
Cash
$156
Total Debt
$315
Shareholders’ Equity
$756
Total Capitalization
$1,071
FY2015 Adj. EBITDA(1)
$101
Net Debt / FY2015 Adj. EBITDA(1)
1.57x
Total Debt / Total Capitalization
 $140m unsecured RCF maturing in
2017
 No significant long-term debt
maturities until 2016
29.4%
Source: Company filings
(1) Adjusted EBITDA is defined as EBITDA adjusted for transaction costs, impairments of available-for-sale financial assets, profit/loss on held for trading liabilities (including profit/loss on derivatives) and share
based payments
Note: Numbers may not add due to rounding
PAGE 24
4Q and FY’ 15 Results
Q4 FY 2015 Q4 FY 2014
+/-%
FY 2015
FY 2014
+/-%
Revenues
$88.5
$63.3
39.8%
$284.2
$235.5
20.7%
Adj EBITDA
$30.0
$13.1
129.0%
$101.2
$80.3
26.0%
Net income
$19.4
$6.4
203.1%
$49.3
$37.1
32.9%
EPS
29.9c
11.6c
157.8%
72.5c
65.2c
11.2%
Operational Highlights
 We released a total of 65 films in FY2015, including 6 high budget films and 12 medium budget films. Of the films released 44 were
Hindi language films and the remaining films were Tamil and other regional languages
 Eros has entered fiscal year 2016 on a strong note with the release of the much anticipated Tanu Weds Manu Returns, 2015’s first film
to reach INR 100 Crore (c.$15 million) and the biggest Indian box office release so far this year, and Dil Dhadakne Do on June 5,
2015. Fiscal year 2016 also includes planned releases on two of three major Indian holidays, with Eid seeing the release of Bajarangi
Bhaijaan, and Christmas the release of Bajirao Mastani. Other high profile releases in the year include Bangistan, Hero, Singh is Bling
and a slate of Tamil, Telugu and Malayalam films.
 ErosNow has over 19 million registered users worldwide, consisting of free, transactional and premium users, across all its platforms.
This is a 35.7% increase from the 14 million registered users announced at Q3 FY15 earnings.
 Emerged as the most preferred business partner for Indo-Chinese collaborations in the field of film and entertainment, with MOUs
signed with three major Chinese film companies to promote, co-produce and distribute Sino-Indian films across all platforms in both
countries
 Earlier this year we announced the appointment of Mr. Prem Parameswaran as Group Chief Financial Officer of Eros International Plc
and President of Eros International’s U.S. operations. Mr. Parameswaran joins Eros with over 23 years of experience in investment
banking in the global media and entertainment industry.
Source: Company filings
PAGE 25
5
Appendix
Our Film Release Profile
(1)
FY’ 09
FY ‘10
FY ‘11
FY ‘12
FY ‘13
FY ‘14
FY ‘15
2
3
3
5
6
4
6
Medium
13
11
10
5
13
21
12
Low
76
97
64
67
58
44
47
91
111
77
77
77
69
65
Film by budget type
High
Total films
(2)
Releases in FY’ 16 to date
Tentative release date
Gabbar is back (overseas)
Q1 FY’ 16
Uttama Villain (Tamil)
Q1 FY’ 16
Tanu Weds Manu Returns
Q1 FY’ 16
Masss (Tamil)
Q1 FY’ 16
Aga Bai Arechaa 2 (Marathi)
Q1 FY’ 16
Dil Dhadakne Do (Overseas)
Q1 FY’ 16
(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 includes regional films and films with overseas rights
PAGE 27
Significant forthcoming releases
Release title
Life of Josootty (Malayalam)
Bajrangi Bhaijaan
Rajini Murugan (Tamil)
Bangistan (Overseas)
Hero
Singh is Bling (Overseas)
Bajirao Mastani
Gabbar Singh 2 (Telegu)
Aligarh
Dictator (Telugu)
Naale (Malayalam)
Perai Thedai Natkal (Tamil)
Enkitta Mothathe (Tamil)
Housefull 3
Shivay
Untitled
Farzi
Banjo
Raabta
Jugaadu
Untitled
Star Cast / (Director/Producer)
Tentative release date
Dileep, Jyothi Krishna, Rachana Narayankutty (Jetthu Joseph)
Q2 FY’ 16
Salman Khan, Kareena Kapoor (Kabir Khan)
Q2 FY’ 16
Sivakarthikeyan (Ponram)
Q2 FY’ 16
Ritesh Deshmukh, Pulkit Samrat, Jaqliene Fernandis(Karan Anshuman)
Q2 FY’ 16
Sooraj Pancholi, Adheya Shetty (Nikhil Advani)
Q2 FY’ 16
Akshay Kumar, Kareena Kapoor, Amy Jackson (Prabhu Deva)
Q3 FY’ 16
Ranveer Singh, Deepika Padukone (Sanjay Leela Bhansali)
Q3 FY’ 16
Pawan Kalyan (K. S. Ravindra)
Q4 FY’ 16
Kangana Ranaut (Hansal Mehta)
Q4 FY’ 16
Balakrishna (Srivaas)
Q4 FY’ 16
Fahad Fazil, Malavika S Mohan, Isha Talwar, Mukesh (Shiju S Bawa)
Q4 FY’ 16
Ashok Selvan (Abraham Prabhu)
Q4 FY’ 16
Natarajan Subramaniyam Rajaji and Vijay Murugan (Ramu Chellappa)
Q4 FY’ 16
Akshay Kumar, Abhishekh Bachchan, (Director-Sajid-Farhad)
FY’ 17
Ajay Devgn (Ajay Devgn)
FY’ 17
Kajol (Ajay Devgan Productions)
FY ‘17
Shahid Kapoor, Kiriti Sanon (Raj Nidimoru and Krishna D.K.)
FY’ 17
Riteish Deshmukh, Nargis Fakhri (Ravi Jadhav)
FY ‘17
Sushant Singh Rajput (Dinesh Vijayan and Homi Adjania)
FY’ 17
Harman Baweja and others
FY’ 17
Saif Ali Khan (3 movies)
FY’ 17
PAGE 28
Adj. EBITDA Reconciliation
Year Ended March 31,
EBITDA Bridge
(in $ thousands)
2015
2014
2013
2012
2011
2010
2009
Net income
$49,330
$37,144
$33,665
$43,580
$47,550
$42,395
$40,827
13,178
12,843
11,913
10,059
8,237
7,152
7,571
Net finance costs
5,861
7,517
1,469
1,009
1,584
2,309
1,261
Depreciation
1,094
789
1,003
1,275
928
1,030
1,196
610
578
715
279
275
308
298
21,915
18,421
1,888
5,289
927
309
1,130
Impairment of available-for-sale
financial assets
1,307
–
–
1,230
–
6
1,347
(Profit) / loss on derivatives
7,801
(5,177)
5,667
4,264
–
–
–
61
8,169
–
–
–
–
–
$101,157
$80,285
$56,320
$66,985
$59,501
$53,509
$53,630
Income tax expense
Amortization(1)
Share based payments(2)
Transaction costs relating to equity
transactions
Adjusted EBITDA
(1) Includes only amortization of intangible assets other than intangible content assets
(2) Consists of compensation costs recognized with respect to all outstanding plans and all other equity settled instruments
PAGE 29
Eros Management Overview
Over 80 years of combined industry and management experience
Kishore Lulla
Jyoti Deshpande
Prem Parameswaran
Mark Carbeck
Group Executive Chairman
Group Chief Executive Officer
Group Chief Financial Officer
Chief Corporate & Strategy Officer
Years of Experience: 30+
Years of Experience: 22+
Years of Experience: 23+
Years of Experience: 16+

Over 30 years experience in the
media and film industry

Key member of the Eros
leadership team since 2001



Founded B4U Television
business in 1999

Former member of J. Walter
Thompson, India
Former Global Head of Media
and Telecommunications
Investment Banking at Jefferies


IIFA Award in 2007 for his
contribution to Indian Cinema



Entrepreneur of the year by
Asian Business Awards in 2007
Part of the team that founded
B4U Television network in the
UK
Prior to Jefferies: Americas Head
of Media & Telecom at Deutsche
Bank, also worked at Goldman
Sachs and Salomon Brothers
Former Director in Citigroup’s UK
Investment Banking Division in
London covering European
media companies
Responsible for M&A, corporate
finance, investor relations and
corporate governance

Senior media consultant with
Mindshare, UK

Instrumental in AIM listing in
2006, Indian subsidiary listing in
2010 and NYSE IPO in
November 2013

Executive Board member of the
UCLA school of Theater, Film
and Television

Deep experience in global media
having led over 300 transactions

Boards: Columbia University
Alumni Trustee Nominating
Committee; Program for
Financial Studies Columbia
Business School

Columbia University, BA, MBA
(Honors)
PAGE 30
Company Structure
47.1%
Founders Group
100.00%
Eros International Plc
(Isle of Man)
52.8%
Public
100.00%
Other International
Subsidiaries
Eros Worldwide
FZ-LLC (Dubai)
99.98%
51.02%
Eros Digital Private 23.49%
Limited (India)
Eros International
Media Limited
(India)
25.49%
Public
Other
Subsidiaries
NYSE-listed entity
India-listed entity
Other subsidiaries
Note: Company structure and holdings as of 31/03/2015
PAGE 31
Important notice and
disclaimer
These materials contain statements that reflect Eros International PLC’s (the “Company”) beliefs and expectations about the future that constitute
“forward – looking statements” as defined under U.S. federal securities laws. 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 ability to complete the acquisition of Techzone, the Company’s contingent liabilities,
general economic and political conditions in India and globally, including fiscal policy and regulatory changes in the Indian film industry and other
factors discussed in the Company’s public filings. 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. In addition, even if the results of operations, financial condition and liquidity, and the development of the
markets and the industry in which the Company operates are consistent with the forward-looking statements contained in these materials, those
results or developments may not be indicative of results or developments in subsequent periods. A number of factors, many of which are beyond
the Company's control, could cause results and developments to differ materially from those expressed or implied by the forward-looking
statements.
The Company has filed a Registration Statement on Form F-1 with the U.S. Securities and Exchange Commission, which includes (under the
caption “Risk Factors”) information concerning the factors that could cause the Company’s results to differ materially from those contained in the
forward-looking statements. You may obtain a copy of this document by visiting EDGAR on the SEC website at www.sec.gov.
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