Digital
Bhima Jewellers celebrates this Valentine’s with a heartfelt digital film
Mumbai: As Valentine’s Day approaches; Bhima Jewellers captured the essence of love and craftsmanship in their latest digital film – Love Jewels from Bhima. The film, a poignant portrayal of devotion and artistry, follows the journey of a skilled artisan crafting a beautiful heart-shaped ring, a quintessential symbol of love from the Virtue Valentine collection by the brand. Set against a backdrop of soft light and subtle music, the film begins with glimpses of the artist’s creative process. With each frame, the film captured the dedication and precision of the artisan, whose hands move with the finesse of gentle care. Every curve and contour of the ring is shaped with reverence, mirroring the beauty of the beloved’s gaze and the purity of their heart.
As the ring takes form, it becomes a tangible expression of love, pure to the core and crafted with unwavering devotion. The film culminated in a breathtaking reveal of the finished piece, shimmering with the promise of eternal love and adorned with the Bhīma hallmark. The digital film is a testament to Bhīma’s commitment to excellence and their dedication to creating meaningful connections through timeless jewellery. It invites viewers to celebrate the beauty of love and craftsmanship and to discover the perfect expression of affection for their loved ones this Valentine’s Day.
Sharing his thoughts on the digital film, Bhima Jewellers managing director Vishnusharan Bhatt said,” The film not only showcases the meticulous craftsmanship behind our Virtue Valentine collection but also celebrates the spirit of innovation and dedication that defines our brand. It is a testament to our commitment to creating jewellery that not only embodies timeless elegance but also resonates with the modern sensibilities of today’s women. With this digital film, we wanted to convey the depth of emotion and dedication that goes into creating each piece, making our new collection the perfect gift for Valentine’s Day.”
T1D Communications creative Vivek Prabhakar said, “This film is inspired by pure love. Just as true love takes time to evolve with readiness to go through the grind, care for little details and ultimately that desire to make it pristine – each piece of Bhima ‘love jewel’ sparkles with the same commitment to craft. The film conveys this connection in a simple and beautiful way and shows how Bhima’s Valentine collection is ‘crafted with love’.”
From intricate designs to innovative techniques that push the boundaries of traditional jewellery-making, the film highlights the brand’s dedication to creating pieces that are not only stunning but also truly unique. With the Virtue Valentine Collection, Bhima Gold offers more than just jewellery; it presents an opportunity to express love and affection in the most exquisite and meaningful way possible.
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.
