MAM
Dentsu One’s new campaign for Honda City packs in ‘Absolute Supremacy’
Honda Cars India (HCIL) has launched a 360-degree marketing campaign, ‘Rush of Supremacy’, for the All-New 5th Generation Honda City.
Conceptualised and executed by Dentsu One, the creative agency from the house of Dentsu Aegis Network (DAN) India, the campaign re-affirms ‘Absolute Supremacy’. It positions the 5th Generation Honda City as a package that excites and exhilarates like no other sedan and puts the brand in a league of its own. For the record, the 5th Generation Honda City has been created with the avant-garde design concept of the Ambitious Sedan that fuels the confidence for an aspiring and upscale life.
The campaign films highlight that the new City embodies the feeling of rush and the hit of adrenaline that comes from being at the top, thus, bringing alive the ‘Rush of Supremacy’. Further, the films focus on the advanced telematics services, industry-first Alexa Remote Capability, and numerous segment-first technologies and features. The campaign has been initiated by Teasers and R&D team Videos, showcasing the team that has created the new Honda City. Here, the objective is to create an intrigue and give the consumers an insider’s perspective on the design philosophy and the engineering craftsmanship that went behind creating this 5th Gen Honda City. For awareness build-up, the digital films are followed by a TVC and print campaign.
It is pertinent to note here that this campaign is probably the first full-ecosystem content that has been created with multi-geography global talent and cutting-edge modern technology. For starters, the car in the commercial was shot before the lock-down. Thereafter, the environment and finishing were done in computer graphics. Similarly, the print and outdoor communications were composed and created in computer graphics. Consequently, the direction and editing of the content happened remotely across multiple geographies – with no physical proximity.
LINKS to the Films:
TVC :
https://www.youtube.com/watch?v=-sLbX_1fmIU
Digital Films:
https://www.youtube.com/watch?v=sUtBnaqKCms
https://www.youtube.com/watch?v=YhSn_cBLBlk
https://www.youtube.com/watch?v=l1jtnVfMaqg
Speaking on the campaign, Rajesh Goel, Sr VP and Director – Sales and Marketing, Honda Cars India said, “The mission was to deliver supremacy from the word go, and so began our journey of creating a car with a strong and robust road presence, delivering excitement and security with an intelligent package that offers superior value to its ambitious customers. The goal of the campaign was to bring all these pillars alive in a tone and manner that is true to the original sedan – the Honda City. The campaign resonates aptly with the City buyer who commands absolute supremacy and is assertive about the intelligent choices he makes.”
Titus Upputuru, National Creative Director, Dentsu One commented, “It’s one thing to pack in a punch when a product is launched; it’s quite another to do it year after year, decade after decade. When we were briefed on this iconic car’s new offering, we were absolutely excited. In the past, we had created campaigns like ‘Worlds Ahead’ and ‘Forget The Toys’ for Honda City but seeing what the 5th Generation model has to offer, we thought it’s time to introduce some excitement into the DNA of the brand. Now for years, people have been saying that it gets lonely and boring at the top. We thought it is time to bust that myth. Because with supremacy, comes a great new feeling, a whole new rush. Despite the lockdown, God helped us execute every nut and bolt of this campaign with various assets, across different platforms. The Honda Connect campaign, featuring several videos around the Boss Dog, was great fun too.”
Abhinav Kaushik, Executive Vice President, Dentsu One added, “The Honda City is a true legend that’s been able to resonate and stay relevant for over two decades. And this new generation of Honda City is no different. Keeping the client brief in mind, we have looked at the brand truth by asserting City’s unrivalled leadership position and amplifying the dynamism and excitement that the new generation Honda City offers to its owners. The campaign reflects these two facets of the brand and will sure fire the segment with much needed dynamism and excitement.”
The Honda City, with its 22 years’ legacy, has been the definitive sedan in the country. The Honda City is not only known for setting the benchmark for sedans but also for showing the world what future of sedans look like. For over 40 lakh customers worldwide and more than 8 lakh customers in India, the new City is a symbol that best resonates with Honda City’s stature and advanced worldview. Just like with every generation of Honda City, the excitement has once again reached sky-high with the launch of the new City.
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.
