Digital
Realatte builds a path-breaking narrative on Women’s Day
Mumbai: Realatte, demonstrating a remarkable 15-year track record in real estate digital marketing, has established itself as a trusted partner for over 300 developers. From a humble team of 10, Realatte has matured into a thriving agency with over 350 digital marketing professionals. Realatte’s global reach extends beyond India, with operations in the UAE and the UK.
If you are mindlessly scrolling through the typical ads that are out every year for Women’s Day, it’s time to hit a pause. Because Realatte adds a fresh touch to this occasion this year. Brand campaigns on the 8 March are usually heavily driven by messages about support‘ing’ women, encourag‘ing’ them and appreciat‘ing’ them for their contributions in our professional and personal lives. However, Realatte champions for something bigger, better and beyond your imagination. Striving to change the perspective towards women, their Women’s Day ad film asks viewers to stop celebrating Women’s Day empowerment this year onwards. If you’re taken aback for a second, then the film has got you covered, rest assured. The ad film is already garnering exemplary attention and remarkable appreciation from the real estate fraternity.
Realatte’s film is an ode to the leading ladies from real estate – an industry that has been considered highly male-dominated for many generations now. Covering the journeys of women achievers from diverse real estate backgrounds, you are driven towards knowing more about the lives of women architects, female real estate influencers, women home buyers, women real estate brokers, and female builders.
“While we sat to brainstorm for Women’s Day, we ended up witnessing countless ads and campaigns by other brands, most of them talking about how we are continu‘ing’ to empower women and that there’s still a long way to go. What we found from our keen observations then became the insight for our 2024 campaign and we are calling it the ‘EMPOWER‘ED’ Women of Real Estate. And that’s why we went ahead to make a strong statement, thereby setting a new norm for Women’s Day celebrations in the years to come,” shared Realatte director and co-founder Rahul Goyal.
Realatte, co-founded by Mayank Vora, Nirav Gosalia, Harish Patel, Rahul Goyal, and Rohan Shah, has consistently spearheaded digital marketing strategies through collaborations with major players in the real estate sector such as DLF, Hiranandani, The Wadhwa Group, Godrej Properties, Sunteck Realty, Runwal, Rustomjee, Brigade Group, and more. The other verticals of the consortium includes Logicloop Tech, a technology services company, Logicloop Digital, a comprehensive digital marketing agency, and Jucy Gifts, specializing in corporate gifting.
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.
