MAM
Balki and Shekar Kapoor to present Global Indian at Cannes Lions
MUMBAI: This year at Cannes Lions Festival of Creativity, which kicks off on 17 June, creative agency Lowe Lintas will present ‘Global India‘ – a seminar dedicated to Indian creativity and its influence globally. This will be a first at the global ad fest.
Lowe Lintas India chairman and chief creative officer R Balki will be joined on stage by Oscar nominated director, actor, producer and new media entrepreneur, Shehkar Kapur. The two will be interviewed on stage by the editor of Wired Magazine while Inter Public Group (IPG) chairman and CEO Michael Roth will introduce the seminar. IPG is the parent company to Lowe and Partners.
Lowe and Partners global CEO Michael Wall said, “At Lowe and Partners we pride ourselves on our strong capability in emerging markets. We have great, talented leaders like Balki, who manage to successfully meet the challenges presented by the globalisation of India, while preserving the local culture. We can look forward to a thought provoking seminar from Balki and Shekhar at Cannes Lions, the first time the festival has dedicated a session to India. This seminar isn‘t just for the Indian Cannes delegates to attend, India‘s future will play a large role in our industry‘s future and should be of interest to all delegates.”
Balki and Kapoor will be sharing their thoughts on a variety of topics like the creative heritage of India, the future of India on a world stage, Indian advertising, India in the digital age and the film and entertainment industry- and discuss their views on the impact of the nation around the world.
Balki commented, “We are excited to bring India to Cannes Lions for the first time and to have Shekhar join us. He has been, of course, a leading Indian creative force, with a world profile, for some years now and is set to inspire the gathered creatives from all over the world, who attend the event. Cannes Lions is really the only truly global festival that celebrates our industry and looks to its future and India is at the forefront of that future. We plan to bring all the diversity, colour, creativity and passion that is modern India, on stage with us.”
Kapur added, “I am happy for the opportunity to be on the same platform with creative leaders like Balki and Lowe and Partners and look forward to a great, in depth discussion. Social Media is a new force that is asking us to redefine Advertising‘s role in society – we have great challenges, but huge opportunities available to us too, by working within communities.”
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.
