MAM
20 films on Buddhism to be screened at 5-day fest
NEW DELHI: Over 20 feature and short films on Buddhist philosophy and thought from seven countries will be screened during ‘Inner Path‘, a five-day festival of understanding Buddhist thought and philosophy.
Union Minister for Culture Kumari Selja will inaugurate the festival on 27 April at Azad Bhavan of the Indian Council for Cultural Relations. Council president Karan Singh and director-general Suresh K Goel will also be present at the event.
The inauguration will be followed by ‘Buddhist Sacred Dances and Rituals‘ by a six-member dance troupe from Sri Lanka.
Prior to the inauguration of the main event, the exhibition ‘The Greatest Journey of Ideas: Spread of Buddhism‘ – a select range of photographs of Buddhist Art in 19 countries by art historian-filmmaker- photographer Benoy K Behl will be inaugurated the same day.
Ten films by Behl are also being screened as part of the Festival.
‘The Inner Path‘ is being organised by the Network for Promotion of Asian Cinema (NETPAC) and the Devki Foundation and is the first International Buddhist Festival in the country of his birth.
The festival, which is expected to become an annual feature, has been conceptualised by film critic and NETPAC president Aruna Vasudev, and is being held in partnership with filmmaker Suresh Jindal, chairman of the Devki Foundation.
Vasudev said the features, documentaries, and shorts are coming from Bhutan, Argentina, Korea, Sri Lanka, China, Japan and India.
Renowned directors and film personalities from these countries will be present. They include director Yoon Yong-jin of ‘Hal‘, Srilankan film star Thumindu Dodantenna of ‘Sankara‘, ‘Amongst the Clouds‘ by Edward A. Burger; the documentary ‘Peace is every step‘ by Gaetano Kazuo Maida, and renowned director Hector Kumarasiri whose film ‘Abinikmana‘ will have its world premiere here.
NETPAC had organised a festival of films on Buddhism way back in 1995. Vasudev added that ‘Trishagini‘ by Azad Bhavan which was screened in 1995 will also be shown, apart from the ten films by Behl, and Im Kwon-Taek‘s ‘Come Come Come Upwards‘.
Behl said he had been documenting the history of Buddhism and had made 12 films on the subject.
Starting from 27 April and slated to go on till 1 May, the festival at the Azad Bhavan (Indian Council of Cultural Relations) will present Buddhist philosophy and aesthetics through various creative forms – a dance performance, films, an exhibition of photographs, and selected art works, discourses, discussions and debates.
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.
