MAM
Creativeland creates ‘Alive is Awesome’ for Cinthol
MUMBAI: Godrej‘s soap and talc brand Cinthol has been given a brand new avatar by Mumbai-based independent creative agency Creativeland Asia. The agency has also conceptualised and executed a 360 degree integrated campaign that expresses the brand‘s new philosophy ‘Alive is Awesome‘.
The ‘AIA‘ campaign will launch not just the revamped soap formulations in five different variants, but complete ranges of soap, talc, deospray and bodywash in product variants of: Active , Lime, Sport, Aqua & Care. The new packaging is clean and bold and aesthetic. It‘s become more ‘urban‘ in its look and feel.
The task at hand for Creativeland Asia was to communicate Cinthol‘s comeback, marking its entry in the Indian personal grooming market with a new positioning, revamped product range and a marketing campaign.
In order to reiterate the new philosophy of the brand, the campaign aims to drive home the fact that a refreshing shower fills you a new rush for life. The campaign introduces the concept of ‘Adventure Bathing‘ for the youthful, outdoorsy and full of life consumer of today.
The film features youthful outdoorsy people who are out to explore life. The TVC showcases lively adventure enthusiasts in eight unconventional bath sequences like ‘The Polar Plunge‘ (a jump in an ice pond at the Arctic), ‘The Cavedive‘ (a jump off a 500 feet high cliff into a water body), ‘The Makeshift Shower Bath‘ in the desert and ‘The Elephant Spray‘ (bath on elephant back while it sprays water with its trunk) with the objective of portraying the culture of ‘Adventure Bathing‘ and associating the brand to it. The commercials are accompanied by complimenting soundtrack.
Extending the experience of ‘Adventure Bathing‘ the campaign goes beyond television and print and engages one further in to the philosophy of ‘Alive is Awesome‘ across media on the digital platform and social media and in the form of branded content and on ground events.
Godrej Consumer Products Limited (GCPL) executive vice president sales and marketing Sunil Kataria said, “CLA came up with a brilliant brand thought of ‘Alive is awesome‘ for Cinthol with a series of truly awesome bathing sequences that make you experience life like never before. This was linked beautifully with a lyrical music track that embodies this spirit. The idea of shooting in Iceland along with a few breathtaking locations in India was to get this Awesome experience.”
Creativeland Asia founder and chairman Sajan RaJ Kurup said, “As a kid I grew up in the broadcast era and I have seen Cinthol stand for an invigoratingly cool and alive soap brand. I felt that it‘s time Cinthol claimed back its standing in the experiential era. The Alive is Awesome bath campaign is an experiential campaign that goes beyond traditional media. It celebrates and recognizes a more adventurous and international India. And a less inhibited and intimidated Indian. Creating this campaign has been an adventure in itself.”
He added, “With a brand like Cinthol that has amazing heritage, it‘s important to leverage its reach and stature and create something that can ‘contemporarise‘ the thinking, and inspire a whole generation with the ‘Alive is Awesome‘ way of life rather than create mere soap ads.”
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.
