MAM
HDFC Life promotes ULIP through anti-bullying campaign
MUMBAI: HDFC Life Insurance Company has launched a new ad campaign on Unit Linked Insurance policies for planning children’s future. The ad highlights the issue of bullying and conveys a message that parents need to empower their children to fight their own battles, making them self-reliant.
The campaign emerged from a consumer insight that parents are inherently wired to be protective towards their children, but at the same time, they also want their children to be equipped with life-skills to navigate through the unexpected twists and turns that life throws their way. It shows parents’ efforts in preparing their loved ones for the future. The TVC will run for one and half months.
The film narrates the story of a young boy who is bullied for his weight. The twist comes when the father, although concerned for his child’s well-being, sends him back to confront his tormentors. HDFC Life has tried to highlight the valuable life lessons that parents try to inculcate in their children; making them face their fears against their natural instincts of protecting their children. The film brings out the brand thought of ‘Apno Ko Apne Dum Pe Jeena Sikhao’, an interpretation of ‘Sar Utha Ke Jiyo’, showing the breadwinner of the family as more than just a conventional financial provider.
The ad articulates the essence of the brand – helping your loved ones live with pride while making sure they have a secure future. And ULIPs offer dual benefits of growth and security which enables one to fulfil long-term financial goals and also ensures financial security. Thus, the campaign brings to light the necessity of not only providing financial strength in achieving future dreams but also the strength of character that helps one endure times of difficulty.
HDFC Life executive vice president of strategic alliances, bancassurance and marketing Pankaj Gupta says, “As parents, financial security is not the only gift we want to leave behind for our children. We also want them to be emotionally independent. Our motto of ‘Sar utha ke jiyo’ is all about holding one’s head high no matter what the situation is.
“Through this campaign, we aim to convey this in the context of a prevalent concern among children – bullying. Instead of showing the child as the victim and having viewers sympathising with him, we wanted to show how the right kind of encouragement from parents empowers and prepares him to face the future. Planning for the child’s future and securing it, is the priority for every parent. In fact, our research shows this as one of the key reasons for buying life insurance, especially the savings and investment plans. Our ULIP offerings enable parents to plan their child’s future over the long-term,” he adds.
Leo Burnett South Asia chief creative officer Rajdeepak Das mentions, “To truly imbibe ‘Sar Utha Ke Jiyo’ in today’s world, we needed to understand what’s happening with the kids today. Of the many problems that they face today, bullying is something that kids are unable to tackle head on. We wanted to use this as a metaphor to highlight the importance of teaching children to be emotionally independent. I am proud of how our philosophy flows through this entire campaign, and I am confident consumers will relate to it and do what is best for the emotional health of their children.”
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.
