MAM
First-ever digital edition of Japanese Film Festival 2020 opens today in India
New Delhi: Japan Foundation New Delhi announced the launch of the Fourth edition of Japanese Film Festival (JFF) 2020 in India, today. The one-of-a-kind 10-day digital Film Festival will be held from 4th to 13th December’20. The expansive movie list this year entails 30 of Japan’s most acclaimed films of varied formats and subjects across categories including animation, feature drama, romance, thriller, classic and documentary. Day one of the festival kick-started with the screening of classic and contemporary films, ‘Key Of Life’, ‘The Flavour of Green Tea over Rice’ and ‘Project Dream- How to Build Mazinger Z’s Hanger’.
The Fourth edition of the Japanese Film Festival is accessible to everyone across the country due to the virtual access and patrons can enjoy the best of Japanese cinema from the safety of their homes. From the carefully curated list of films, three movies will be screened each day and will be available for 24 hours on the festival watch page, https://watch.jff.jpf.go.jp/page/india/. Patrons can enjoy unlimited access to multiple movies from the film line-up without any subscription cost. The films selected will be screened in Japanese with English subtitles for the viewer’s convenience.
Commenting on the opening of JFF 2020, Mr. Kaoru Miyamoto, the Director-General of the Japan Foundation New Delhi said, “We are very excited to open the Film Festival in India. The last few months have been reassuring to see the excitement across our platforms. India is an important and growing market for the Japanese arthouses as there is notable inclination and interest for Japanese culture amongst Indians. We have closely mapped audience demand and accordingly created a list 30 popular Japanese films suited to cater to a wider audience base addressing to varied age groups. The response so far has been overwhelming also from cities like Hyderabad, Jaipur etc. in addition to the metros.”
He further added, “We are delighted and grateful for the special place that the festival has carved for itself in the Indian landscape. The last three editions have received a staggering response and, we are hopeful that the festival will be successful and bigger with the first-ever digital edition.”
The Japanese Film Festival 2020 is showcasing a diverse line-up of popular Japanese films like Sumikkogurashi: Good to be in the corner, Production I.G Animation: Tokyo Marble Chocolate, Production I.G Short Animation: (Drawer Hobs), One Night, 0.5mm, Ecotherapy Getaway Holiday, Our 30-Minute Sessions, Little Nights, Little Love, Stolen Identity, Tremble All You Want, The Great Passage, RAILWAYS, Café Funiculi Funicula and more.
Adding fervor to the 10-day Film Festival, the Japan Foundation New Delhi is holding ‘Young Critic Contest’. The contest seeks participation of young elementary and middle school students to write critical responses to the selected animation films from the Festival’s movie line-up. Six winners will be declared by December 24, 2020 and will be awarded a Certificate of Excellence along with exclusive Japanese Film Festival goodies.
For more information on the movie line-up, registration process, festival schedule and dates, you can log onto the Festival watch page, https://watch.jff.jpf.go.jp/. You can also check out the official social handles for regular updates.
Instagram: https://www.instagram.com/japanesefilmfestivalindia/
Facebook: https://www.facebook.com/JapaneseFilmFestivalIndia/
Twitter: https://twitter.com/JFF_India
MAM
India’s experience economy grows as live events market hits Rs 17,000 crore
EY-Parthenon and BookMyShow report finds 78 per cent Indians prefer experiences over products
MUMBAI: India’s live entertainment scene is no longer just about music, comedy or festivals. It is increasingly becoming a powerful stage for brands seeking deeper connections with consumers.
A new report titled Beyond Attention, Into Immersion by EY-Parthenon and BookMyShow suggests that India’s experience economy is entering a strong growth phase, driven by consumers who are choosing memorable moments over material purchases.
According to the study, the country’s live events ecosystem, which includes concerts, comedy tours, festivals and immersive exhibitions, is estimated to reach around Rs 17,000 crore in 2025. The growth reflects a broader cultural shift in how Indians spend their time and money.
The report finds that 78 per cent of Indian consumers now prefer spending on experiences rather than physical products. From attending concerts and festivals to participating in interactive brand installations, audiences are increasingly seeking engagement, community and shareable moments.
This change in consumer behaviour is particularly evident among younger audiences who want to participate rather than simply watch. Instead of passively consuming entertainment, many now look for experiences that allow them to interact, express themselves and connect with like minded communities.
For marketers, this shift has turned experiential marketing into a strategic priority rather than a promotional add on. Brands are moving away from interruption driven advertising and towards immersive formats that allow consumers to discover, test and emotionally connect with products.
The report suggests that experiential marketing now plays a role across the entire consumer journey. It can spark brand discovery, strengthen storytelling, encourage product trials and ultimately influence purchase decisions and loyalty.
The impact is already visible. Post event surveys conducted among 7,450 attendees at major events including Lollapalooza India and concerts by Ed Sheeran and Guns N’ Roses highlight the effectiveness of these experiences.
Around 59 per cent of attendees recalled brands they interacted with during the events, while 55 per cent said those interactions increased their likelihood of purchasing from the brand. A further 63 per cent reported that brand activations actually enhanced their event experience rather than distracting from it. Nearly 29 per cent also said the interaction improved their perception of the brand.
Brands are also changing the way they approach events. Instead of simply putting logos on stages or banners, companies are building experiences into the fabric of the event itself.
Financial services brands, for example, are offering early ticket access, exclusive lounges and curated event experiences for cardholders. Fashion and beauty companies are using festivals to showcase products through pop ups, interactive installations and social media friendly spaces that encourage visitors to share their experiences online.
The scope of experiential marketing now stretches far beyond live entertainment. Retailers are designing experiential stores where customers can explore products in lifelike environments. Entertainment platforms are extending popular intellectual properties into immersive exhibitions and fan events. Technology is also playing a growing role through augmented reality and virtual try on tools that blend digital discovery with physical interaction.
Cultural festivals remain one of the most powerful platforms for such engagement in India. Celebrations such as Navratri and Holi bring together large communities, emotional participation and heightened consumer spending. For brands, these moments offer an opportunity to become part of the celebration rather than simply advertise around it.
Despite the momentum, the report notes that some companies still hesitate to adopt experiential marketing at scale. Budget constraints, limited expertise and uncertainty around measuring return on investment remain common concerns.
However, the growing body of data around consumer engagement and brand impact is gradually addressing these challenges. More marketers are expected to allocate a larger share of their budgets to experiential formats over the coming years.
Taken together, the findings point to a clear trend. As consumers seek meaning, memories and moments worth sharing, live experiences are emerging as one of the most powerful ways for brands to stay relevant in a crowded media landscape.
