MAM
Supari Studios creates campaign for Clinique’s popular product, Moisture Surge
MUMBAI: Award-winning agency Supari Studios produced the latest campaign for Clinique for their popular product, ‘Moisture Surge’. The film’s release comes from the latest formulation for this product, which offers 72 hours of moisture to the skin. This key feature of the product was beautifully brought under the spotlight by Sanya Malhotra, star of the box office breakout film, ‘Dangal’.
The film follows Sanya through a typical 72 hours in her life, to show how she juggles her work and social life, especially with her hectic schedule. The moisturiser presents itself as the perfect companion and hero that keeps up with her. To ensure the hectic pace of her life is encapsulated, and lend a certain intimacy, the Supari team went with a hand-held style to operate the camera. Similarly, the pacing of the music is quick, which adds to the mood of the film. The film also gives a sneak peek into the lighter moods in Sanya’s life like catching up with her friends, dance practice and how she emerges from it, radiant as ever. The settings take you on a journey with Sanya to give you glimpses of what goes on in her life. The film is meant to speak to the urban, independent and contemporary women of today who go through as much as Sanya does in 72 hours.
Anna Joseph, Director of the film said, “The brief we received was that the film had to cover different moments over 72 hours in Sanya Malhotra’s life. As a young actress her days are filled with all sorts of activities – from photo shoots to rigorous dance rehearsals to downtime with friends – we wanted to give the viewer an insight into her personality as well as establish how Moisture Surge is a product she relies on to keep her skin looking great through the day. We tried to intersperse the product shots organically through the film so they felt like a part of her regular routine. We kept the camera movement fluid and made her interact with the camera as much as possible so it would feel like you’re moving with her through different parts of her day. Lastly, we made sure to put her essence into the film so that it felt natural and fun. She’s a great dancer and a very positive, happy person – it was important to bring that out in the film. “
Supari Studios, Executive Producer, Mitali Sharma said, “When Clinique came to us with the brief for this project, we knew that the 72 hour factor of the product would be pivotal. There’s so much that happens in 72 hours of any person’s life especially someone like Sanya, so this film is extremely relatable for anyone that watches it. When developing the narrative and script for this we felt that the mood and theme of this film would resonate with the target audience “
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.
