MAM
Voltas Beko pays tribute to single moms in new campaign for Mother’s Day
MUMBAI: Voltas Beko and Europe’s free standing consumer durables player, Arçelik, have launched a new digital video commercial named "#IAmEnough". Launched on the occasion of Mother’s Day, this DVC is a tribute to the single mothers who make invaluable sacrifices and embrace multiple roles in order to raise their children, especially during this period of lockdown.
The "#IAmEnough" video, conceptualised by Momspresso, is inspired by single moms – those amazing mothers who have the strength to raise their child alone and the courage to never give up even in face of the greatest challenges. With this DVC, Voltas Beko is reinforcing its commitment as the ‘partners of everyday happiness’ to mothers across India.
You can view the video here- DVC Link: https://youtu.be/QkVbwkbCayA
This video also tries to sensitise other members of the society to be kind towards single parents, keeping in mind the varied struggles they face. In a simple slice of life narrative, the film depicts an every-day scenario about a girl and her mom, who we find out later is a single parent, enquiring about each other’s day. The film goes on to depict an incident where the young daughter was troubled at school because she has a single mom. The daughter surprises her mother by reacting to the taunt in the most mature way, saying that because her mother puts in double the efforts in raising her, how can she be called single? This is a moment of realisation for the mother, who sees the wisdom and maturity in her child as a result of her being a good mother, who finally believes, “I am enough.”
Voltas Beko CEO Jayant Balan said: “At Voltas Beko, we pride ourselves on being the ‘partners of everyday happiness’, especially for mothers across India, as we understand their requirements for convenience and efficiency. On this occasion of Mother’s Day, we have once again partnered with one of India’s biggest mom communities to identify and celebrate the unparalleled commitments by mothers and urging all of them to believe in the simple self-affirmation, #IAmEnough.”
Voltas Beko marketing head Prasenjit Basu said: “While Mother’s Day is celebrated every year, it is very unique this year, considering how mothers are nourishing their families during this period of lockdown. Single mothers across the country are working without a break, way more than most others – in progressing their career, and in taking care of their homes and families. For the conceptualization of this film, we partnered with a community of mothers to understand their unstated requirements. We hope this acts as a thought-starter and sensitises the society as well.”
He further added, “Voltas Beko is dedicated to make the lives of each ‘mom’ easier by offering technologically superior, easy to use, energy efficient home appliances, which have been specifically designed for Indian conditions.”
Momspresso chief editor Parul Ohri said: “This is a film which will strike a chord with every mother who has ever second guessed herself or been judged by the world – and which one of us hasn’t! Just like in our film, sometimes it takes your child doing something simple, yet so remarkable, for the belief to hit you in a rush, “Yes, I am enough!” A belief that becomes even more critical at this time of lockdown, when mums need to see that their children are just happy being with them, secure in their love and enjoying the unique time they have got together.”
Prior to this, Voltas Beko had also brought up another insightful thought, ‘Kahan Gaya Mummy ka Sunday’, which addressed the issue of mothers being on their toes constantly, not getting a chance to relax and unwind even on Sundays.
This year, Voltas Beko launched a wide range of Refrigerators, including the Direct Cool refrigerator series. The StoreFresh technology in the Voltas Beko refrigerators enable 30 day freshness of fruits and vegetables. The Company also increased its portfolio by launching 98 SKUs of Refrigerators, 13 SKUs of Front Load Washing Machines, new range of 5-star Top Load Washing Machines and 45 SKUs of Semi-Automatic Washing Machines along with 4 SKUs of Dishwashers and 12 SKUs of Convection Microwaves. Voltas Beko aims to provide its consumers with state-of-the-art innovative products that are designed to fulfil the unstated requirements of Indian consumers.
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.
