MAM
Sathyam Cinemas to instal two Imax systems in multiplexes
MUMBAI: Canada’s Imax Corporation and Sathyam Cinemas has reached an agreement to install two Imax and MPX theatre systems at Sathyam Cinemas’ multiplexes in India. The deal is the third between Imax and Sathyam and marks the second time the exhibitor has doubled the number of Imax theatres it plans to open in the country.
Sathyam Cinemas now has a total of four Imax theatres scheduled to be installed in its multiplexes, with the first to open next year in Chennai, India and three more at locations to be announced. India remains one of Imax’s fastest growing markets, with eleven Imax theatres now scheduled to be open in the country by 2008, stated an official release.
“India is a vast market that holds a great deal of growth potential for Imax,” said Imax co-chairmen and co-CEOs Richard L Gelfond and Bradley J Wechlser. “We have been delighted with the success of the multiplex-based Imax theatres in this region and very pleased with exhibitor response to the Imax MPX value proposition. We are optimistic that Sathyam Cinemas doubling its commitment will fuel further interest and growth for Imax in India.”
“We want to offer moviegoers a compelling reason to visit Sathyam Cinemas and The Imax Experience has proven to accomplish this, serving as a significant draw for commercial exhibitors in India,” said Sathyam Cinemas MD Kiran Reddy. “Indian moviegoers are paying a premium ticket price for blockbusters in Imax’s format, and we’ve been very impressed with the recent films’ grosses in Hyderabad and Mumbai.”
Sathyam Cinemas’ first Imax theatre is anticipated to open in Chennai, India in March 2006 at one of the most heavily trafficked cinemas in the country, to be followed by another location that will open in Chennai in 2008. The other two Imax theatres will open in 2007 and 2008 at yet to be announced locations.
All of Sathyam Cinemas’ Imax theatres will be capable of playing Hollywood event films converted into the unparalleled image and sound quality of The Imax Experience, as well as original Imax productions in 2D and Imax 3D. The Imax MPX theatre system was specifically designed to enable multiplex operators to more cost effectively enter into the Imax theatre business, by retrofitting an existing stadium seating auditorium or via an economical new build, the release added.
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.
