MAM
UNICEF India launches ‘Fair Start’ for Every Child
Mumbai: UNICEF India today unveiled the ‘Fair Start’ film as part of a (social) media campaign that will focus on persisting inequities that large groups of children in India face, affecting their survival, growth and development. A series of impactful films will give an insight into the lives of millions of children from various backgrounds, who are full of potential but less likely to grow up healthy and safe, less likely to attend school , less likely to learn, and more likely to be married as children.
Introducing the film, UNICEF India chief, advocacy & communication Caroline Den Dulk, said, “Every child deserves a fair start in his/her life and deserves adequate nutrition, education, sanitation, protection and health care. The campaign draws attention to the lives of many children who are deprived of these basic rights, often at times determined simply by where they are born. Every child should have a fair and equal chance in life, irrespective of their caste, ethnicity, gender, poverty, region or religion.”
UNICEF works closely with the Government of India and many other partners to curb the situation of the most vulnerable and deprived children, ensuring that each child born in this vast and complex country gets the best start in life, thrives and develops to his or her full potential.
Every Child deserves a #FairStart. Currently, 6.1 million children in India are out- of -schoool; around 10 million children are engaged in work in India; close to 3500 children die every day before reaching age 5; 42 per cent of tribal children in India are stunted in their growth and development; and almost half the population of India, about 564 million people still practice open defecation.Girls in India deserve an equal chance in life too, but on an average 2.22 million girls marry early every year in India, and 23% girls between 15-19 years of age experience physical or sexual violence.
“Often the issues faced are immensely complex in nature and cut across all layers of society”, said Mrs. Den Dulk. “To make change happen a mind-shift is required. The #FairStart campaign aims at engaging the larger public in a debate and for everyone to see they have a role to play to make sure every child can have a fair chance in life”.
The ‘Fair Start’ films were produced with the participation of a group of children who brought their own daily reality to the film set.
“We have made this film with a lot of love and we hope you like it. Help us get a fair start, life. We deserve a #FairStart”
“The #FairStart campaign was quite a remarkable and prestigious project to work on for me, as well as the entire team. at Avant Garde Films. The most memorable thing was working with such wonderful kids from ‘Bigger Than Life’ NGO. They played cast and crew really well. For me, and I am sure for everyone who was a part of this project, it would be the most memorable experience and will be close to our hearts forever” – Abhishek De, Avant Garde Films.
Crew:
Sahil: Camera man – Sahil is a 14 year old enthusiastic boy who is interested in sports and music. He is an avid cricket fan and wants to pursue cricket as his profession. He has a mother and a sister who love him. His father passed away 3 years back. He helps his uncle in laundry work. Sahil goes to an English medium school.
Suraj: Art Director – Suraj is 10 years old. He has 3 sisters and 2 brothers. His mother works very hard selling corn. He helps his mother at her work. His father is an alcoholic and fights at home. Suraj wants to become a scientist when he grows up.
Shawn: Camera Man / Director – Shawn is 15 years old. He has 6 siblings. Since his father has left home and mother keeps unwell he has taken up the responsibility to work and earn money for his home. So he goes everyday to clean gutters. He does not go to school but wants to. He is good at football. He is very helpful and caring by nature.
Belinda: Costume – Belinda is 13 years old. She goes to a municipal school. She is Shawn’s sister. She works at home after school hours. She is a very shy girl but aspires to become an office accountant when she grows up.
Digital
Content India 2026 opens with a copro pitch, a spice evangelist and a £10,000 prize for Indian storytelling
Dish TV and C21Media’s three-day summit puts seven ambitious projects before an international jury, and two walk away with serious development money
MUMBAI: India’s content industry gathered in Mumbai this March for Content India 2026, a three-day summit organised by Dish TV in partnership with C21Media, and it wasted no time making a statement. The event opened with a Copro Pitch that put seven scripted and unscripted television concepts before an international panel of judges, and by the end of it, two projects had walked away with £10,000 each in marketing prize money from C21Media to support development and international promotion.
The jury, comprising Frank Spotnitz, Fiona Campbell, Rashmi Bajpai, Bal Samra and Rachel Glaister, evaluated a shortlist that ranged from a dark Mumbai comedy-drama about mental health (Dirty Minds, created by Sundar Aaron) to a Delhi coming-of-age mystery (Djinn Patrol, by Neha Sharma and Kilian Irwin), a techno-thriller about a teenage gaming prodigy (Kanpur X Satori, by Suchita Bhatia), an investigative crime drama blending mythology and modern thriller (The Age of Kali, by Shivani Bhatija), a documentary on India’s spice heritage (The Masala Quest, hosted by Sarina Kamini), a documentary on competitive gaming (Respawn: India’s Esports Revolution, by George Mangala Thomas and Sangram Mawari), and a reality-horror competition merging gaming and immersive fear (Scary Goose, by Samar Iqbal).
The session was hosted by Mayank Shekhar.
The two winners were Djinn Patrol, backed by Miura Kite, formerly of Participant Media and known for Chinatown and Keep Sweet: Pray & Obey, with Jaya Entertainment, producers of Real Kashmir Football Club, also attached; and The Masala Quest, created and hosted by Sarina Kamini, an Indian-Australian cook, author and self-described “spice evangelist.”
The summit also unveiled the Content India Trends Report, whose findings made for bracing reading. Daoud Jackson, senior analyst at OMDIA, set the tone: “By 2030, online video in India will nearly double the revenue of traditional TV, becoming the main driver of growth.” He noted that in 2025, India produced a quarter of all YouTube videos globally, overtaking the United States, while Indians collectively spend 117 years daily on YouTube and 72 years on Instagram. Traditional subscription TV is declining as free TV and connected TV gain ground, forcing broadcasters to innovate. “AI-generated content is just 2 per cent of engagement,” Jackson added, “highlighting the dominance of high-quality human content. The key for Indian media companies is scaling while monetising effectively from day one.”
Hannah Walsh, principal analyst at Ampere Analysis, added hard numbers to the picture. India produced over 24,000 titles in January 2026 alone, with 19,000 available internationally. The country now accounts for 12 per cent of Asia-Pacific content spend, up from 8 per cent in 2021, outpacing both Japan and China. Key exporters include JioStar, Zee Entertainment, Sony India, Amazon and Netflix, delivering over 7,500 Indian-produced titles abroad each year. The top importing markets are Saudi Arabia, the UAE, Egypt, the United States and the Philippines. Scripted content dominates globally at 88 per cent, with crime dramas and children’s and family titles performing particularly strongly.
Manoj Dobhal, chief executive and executive director of Dish TV India, framed the summit’s ambition squarely. “Stories don’t need translation. They need a platform, discovery, and reach, local or global,” he said. “India produces more movies than any country, our streaming platforms compete globally, and our tech and creators win international awards. Yet fragmentation slows growth. Producers, platforms, and tech move in different lanes. We need shared spaces, collaboration, and an ecosystem where ideas, technology, and people meet. That is why we built Content India.”
The data, the pitches and the prize money all pointed to the same conclusion: India is not waiting for the world to discover its stories. It is building the infrastructure to sell them.
