MAM
Cannes Lions Day 1: Dentsu Webchutney, VMLY&R shine with Grand Prix each
MUMBAI: The Indian contingent opened its innings grandly on day one of the Cannes Lions Festival of Creativity 2022 with a seven-metal haul, which includes two Grand Prix, three Silvers and two Bronzes. It also clinched 20 shortlists across five more categories, taking the total shortlists to 37.
The first Grand Prix was won in the Radio & Audio Lions by Dentsu Creative for the ‘The Unfiltered History Tour’ campaign for Vice Media. The campaign was the only shortlist from India and the category, and had got seven nominations. The Grand Prix came under the branded content and podcasts subcategory.
The campaign also won a silver in the media & entertainment subcategory and two bronze lions in the audio-led creativity and cultural insight subcategories, respectively.
The second Grand Prix was bagged by VMLY&R in the Health & Wellness Lions (OTC Products/Devices) for ‘The Killer Pack’ – an innovative 100 percent biodegradeble packaging for the mosquito repellent, which was lined with 5 percent active probiotic bacillus thuringiensis to kill mosquito larvae when disposed of in garbage dumps, dustbins and stagnant water – for Maxx Flash.
The agency also won one Silver Health & Wellness Lion for ‘Adeli’, a unique campaign by Unipads that put menstruating women, colloquially known as adelis in certain parts of the country, into kitchens. The win came in the Brand-led Education & Awareness subcategory.
Reacting to the win, VMLY&R global chief creative officer Debbi Vandeven said, “I am grateful that we get to work with brands impacting the world positively and clients who are passionate about building purpose-driven businesses. And I am very proud that work from around the world is getting the recognition it deserves.”
Dentsu Creative CEO India Amit Wadhwa said, “This is a humongous win. A Grand Prix, 1 Silver and 2 Bronze on Day 1 itself indeed make for a perfect fairytale. The Unfiltered History Tour has won several laurels in the past but this one gets us positioned at the very top in terms of creativity. Kudos to each one from our army of artistic folks, both ex and current, who have invested their blood and sweat to build the masterpiece. This victory completely belongs to you and it deserves to be cherished for times to come.”
Dentsu Creative group chief creative officer india Ajay Gahlaut added, “Winning four metals, including the coveted Grand Prix, on the first day at Cannes is a fantastic feeling. We have great hopes for this campaign and I’m sure it will win a few more metals by the end of Cannes Lions. Meanwhile we’re enjoying the feeling!”
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.
