MAM
Brics Educational Film and Media Association appoints Syed Sultan Ahmed as vice-president
Indian education reformer to boost film and media learning across Brics
NEW DELHI: The Brics Educational Film and Media Association has appointed Syed Sultan Ahmed as its Vice-President, signalling a renewed push to strengthen educational film, media literacy and cross-border school collaboration across Brics and Brics+ nations.
Ahmed becomes the first Indian educator to actively support Befma’s expansion across the growing Brics+ network. In his new role, he will steer strategic programmes aimed at building a more inclusive and innovative media education ecosystem, enabling educators and students to not only consume content thoughtfully but also create it with confidence and global relevance.
“I’m honoured to join Befma at a moment when film and media are becoming vital tools for education and global conversation,” said Ahmed. “I look forward to working with educators, filmmakers and young creators across Brics to expand access, deepen media literacy and give learners the means to tell their own stories to the world.”
Ahmed is widely regarded as a pioneer at the intersection of cinema and education. An education reformer, social entrepreneur and Indian National Award-winning filmmaker, he has spent more than two decades weaving life skills and storytelling into school leadership and curriculum design.
He currently serves as chairperson of The Association of International Schools of India, where he works closely with international curriculum schools to strengthen governance and professional development. He is also the founder and chief learner of LXL Ideas, the organisation behind School Cinema, a film-based pedagogy that integrates curated films into school timetables to teach empathy, emotional intelligence and global awareness. The initiative has reached millions of students across countries.
In addition, Ahmed curates the School Cinema International Film Festival, bringing global cinema into classrooms and encouraging young people to engage critically and creatively with the world around them.
His creative credentials are equally impressive. Ahmed has received seven National Film Awards from the president of India, including honours for Best Educational Film, Best Film on Family Values and Best Film on Sports. His films have travelled to more than 575 international film festivals, earning acclaim for blending artistic storytelling with educational purpose.
With Ahmed stepping into a global leadership role at Befma, the message is clear: in a world shaped by screens, the classroom is no longer confined to four walls. Through film and media, it can stretch across borders, languages and cultures, bringing learners closer to the world and to one another.
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.
