MAM
Rainbow Media adds independent film channel prog to international content offerings
MUMBAI: Rainbow Media Holdings LLC has again expanded its agreement with London’s iD Distribution to add a wealth of original content from The Independent Film Channel (IFC). Fueled by the solid international sales of its brands and growing global interest in its vast programming lineup, this latest expansion comes just as iD closes its first successful year of international sales for Rainbow Media.
The Independent Film Channel (IFC)—launched in September 1994—is dedicated to independent film 24 hours a day, uncut, uncensored and commercial free. The channel’s “tv, uncut” mantra and its commitment to the independent film community and culture have helped establish IFC as a brand with a cult following of enthusiasts who revel in its original films and series. Over the network’s 12 year history, IFC has compiled an expansive slate of originals that includes such recent stand-outs as the network’s critically acclaimed signature series The Henry Rollins Show and original comedies The Minor Accomplishments of Jackie Woodman and Greg the Bunny, among other films, documentaries and specials, states an official release.
“It was a natural progression to include IFC as part of iD Distribution’s rich slate of offerings at MIPCOM, considering their continued success in selling Rainbow content around the world,” said Rainbow Media’s SVP Business Development Glenn Oakley in announcing the extended agreement. “IFC’s original programming has achieved phenomenal success with viewers in the United States, and we look forward to seeing this extend throughout the global marketplace.”
“Since IFC launched in 1994, we have seen the channel grow both its audience and vision. This is now a brand synonymous with engaging and edgy original programming that our U.S. viewers have come to expect,” said IFC’s EVP and GM Evan Shapiro. “We are obviously thrilled at the opportunity to bring the IFC brand and original entertainment to other regions in the world.”
Added iD Distribution’s MD Sally Miles: “IFC, with its refreshingly edgy tone, presents a fantastic array of series and specials that celebrate all things relevant to the indie film fan. This is a lineup with definite appeal to international audiences, and we’re pleased at the opportunity to bring it to market.”
Among the top IFC offerings at MIPCOM are:
Dinner for Five (49 x 30’) – Named by Entertainment Weekly as one of its top “Alterna-TV” picks, IFC’s signature series hosted and created by Jon Favreau (Elf and Made) brings together an intimate gathering of personalities from film, television, music and comedy for a lively and spontaneous evening of food and banter.
Film School (10 x 30’) – Why do so many people want to make movies? If you think you know the answer, this 10-part documentary series may make you think again. Executive producer and creator Nanette Burstein (The Kid Stays in the Picture) and producer Jordan Roberts document the trials and tribulations of four film school students during their final year at the prestigious New York University.
Greg the Bunny (15 x15’) – In this comical series of puppet parodies, the cancellation of the main characters’ sitcom is now just a painful memory. More current concerns are overdue rent and funding Warren the Ape’s drinking habit. So they’ve returned to where it all began: making film parodies for IFC.
Hopeless Pictures (9 x 17’) – This new animated comedy series centers on a dysfunctional Hollywood indie dream factory. Studio head Mel Wax struggles to reign in out-of-control pill-popping Swedish directors and assorted egomaniacal stars and starlets, while coping with a vengeful soon-to-be ex-wife, assorted affairs, his idiot nephew/head of production, and a hostile takeover by IFC.
The Henry Rollins Show (20 x 30’) – The Henry Rollins Show takes an uncensored approach to talk show programming with an independent voice that balances humor, angst, art and intellect. Following critical acclaim as IFC’s outspoken host on Henry’s Film Corner, Rollins incorporates an eclectic selection of musical acts, a wider range of celebrity guests and original comedy segments into his newest series.
Henry Rollins: Uncut From NYC (1 x 90’) – This one-hour special was taped during a stop at Town Hall in New York City on Rollins’ ‘25 Years of Bullshit’ Spoken Word Tour. The special features Rollins’ most engaging, enraging and humorous commentary on politics and pop culture, as well as his favorite exploits from 25 years on the road.
The Minor Accomplishments of Jackie Woodman (8 x 30’) – Ten-plus years after graduating from NYU Film School, best friends Jackie Woodman and Tara Wentzel, are still waiting for Hollywood to let them put their skills to use. Their struggles and antics holding onto “the dream” keep them suspended in a solution of willfully-ignorant optimism, promiscuity and irresponsibility.
Ultimate Film Fanatic (18 x 30’ plus format opportunity) – Hosted by Chris Gore, film critic and creator of indie magazine Film Threat, this is a series in which film geeks from across the country compete for the coveted title of THE Ultimate Film Fanatic. To prove it, they answer trivia, debate great film questions and show they are OBSESSED with movies.
Since launching its global expansion initiative just under a year ago, Rainbow Media—through iD Distribution—has sold over 1,000 hours of programming from its VOOM HD, WE tv, Mag Rack and sportskool brands to broadcasters around the world, including China, Japan, Thailand, Singapore, United Kingdom, Scandinavia, Italy, Greece, Cyprus, Lebanon, Australia, New Zealand and India, the release adds.
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.
