MAM
&Prive HD campaigns for ‘Jackie’, ‘Pele’ etc premieres, presents first twin-screen trailer
MUMBAI: &Privé HD, the new premium English movie destination from the Zee stable, is leaving no stone unturned with a 360-degree marketing campaign promoting the Indian television premieres of movies like Moonlight, Pele, Jackie and Lion amongst others, across various digital and on-ground platforms.
&Privé HD is all set to take you back in history to relive First Lady, Jaqueline Kennedy’s journey in the days following her husband’s assassination.
The Oscar-nominated movie ‘Jackie’ directed by Pablo Larraín, premieres on 1 October.
Following the assassination of President John F. Kennedy, the First Lady fights through grief and trauma to regain her faith, console her children and define her husband’s historic legacy. Jackie quickly realises that the days immediately after the assassination will determine how history will define her husband’s legacy and how she herself will be remembered.
Click here to experience the other side now.
With a strong emphasis on digital marketing innovation, &Privé launched a unique technology on its social platforms – world’s first twin screen trailer. The channel, which is specially designed for those who look beyond the usual and delve into the introspective minds of the protagonists, this technology gave viewers a sneak peek into what to expect from &Privé ahead of its launch.
This distinctive technology enabled viewers to experience the other side of cinema with the help of a second device in a fun and engaging manner. While one screen showed the obvious, the other screen presented a second perspective, perfectly encapsulating and displaying the channel philosophy. All viewers need is two devices running simultaneously.
On one device, log on to feeltheotherside.com and on the other, ftos.co. Enter the code on Device 1 and hit validate. Hit play on device 2 and experience the magic of two sides.
This technology aims to redefine the movie trailer watching experience for the viewers, allowing them to connect with the film at a deeper level.
Along with technological innovations, &Privé also presented striking installations on-ground for the audiences. For the premiere of Moonlight, the channel created a larger-than-life installation of a gun on a rainbow coloured platform. In line with the theme of the movie, the gun signified the protagonist Chiron’s upbringing in a rough neighbourhood of Miami and his journey of becoming a gangster whereas the rainbow colours of the platform, which symbolizes the LGBT community, perfectly summed up his struggle with his sexuality.
For the premiere of Pelé, &Privé HD paid an ode to the legendary footballer with a magnificent installation of a life-size goal post with the numbers 1281 made out of multiple footballs depicting the total number goals Pelé scored.
&Privé HD is surely engaging viewers across platforms.
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.
