MAM
Flying Machine, Dentsu India stretch the limit with new campaign for F-LITE denim
MUMBAI: Dentsu India, the brand solutions agency from Dentsu Aegis Network, has launched a new campaign to introduce Flying Machine’s new product, the F-Lite denim.
India’s first homegrown denim brand from the house of Arvind Lifestyle Brands, Flying Machine is one of the coolest youth apparel brands in the country. Driven to innovate, Flying Machine continues to experiment and push boundaries, much like today’s millennials. The brand chooses to be a trendsetter rather than a fad-follower and this attitude is reflected in each and every one of its products. F-Lite is no exception – unique in terms of its lightweight, flexibility and breathable material, its denim that really pushes the limit on what denim can and can’t do.
This was the inspiration behind the collaboration with South African Freestyle champion Justone Du Plessis, who did a record 250 splits on the day of the shoot in a pair of F-Lite denims to create this fun film that’ll surely put a smile on your face.
Commenting on the film, Alok Dubey, CEO – Lifestyle Brands Division, Arvind Lifestyle Brands said, “Our customers will not only enjoy this film but see for themselves how the F-Lite denim is designed to suit their lifestyle of non-stop fun and action – the proof is here.”
Malvika Mehra, Chief Creative Officer, Dentsu India said, “What do you do when you get a brief for a fantastic product? You keep it simple and do a fantastic product window. One that lasts a full 30 seconds. With Justone, our freestyle champion, doing innumerable splits in the ultra-flexible F-Lite denims, we didn’t need to say much, the proof was in the pudding. This is the first of 5 very interesting films we’ve done for Flying Machine this season. Do watch this space for more action.”
Samrat Chengapa, Executive Vice President, Dentsu India said, What you will see in the film is, “When you can say it in many ways to make a point, then why stop at one!”
The TVC has already hit the Flying Machine social handles and will be airing on TV and cinema theatres soon.
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.
