MAM
Mukta A2 cinemas makes its twin debut – Hyderabad and Sangli
MUMBAI: MUKTA A2 CINEMAS, where movies come to life, made its debut in the multiplex entertainment in the year 2012 with its first screens in Ahmedabad and Baroda. Withover 8 cinemas and 23 screens in the last two years across cities in India, MUKTA A2 CINEMAS is all set to make its debut in Hyderabad and Sangli on July 25, 2014. The movie-goers of Hyderabad and Sangli will now have a landmark in their city to watch blockbuster hits with state of the art technology at affordable prices.
One of India’s most reputed and esteemed film banners, Mukta Arts Limited has been giving its audiences the best of on-screen entertainment for decades. As the country’s leading production house with business interests across the entertainment spectrum, Mukta Arts has been the largest content provider in the country with over 500 screens with a library of over 35 hit films. Climbing up the ladder, the company has created its own brand of multiplex theaters MUKTA A2 CINEMAS to provide cinematic experience to movie-lovers.
Each property under this banner is designed with state of the art acoustics, comfortable seating, soothing ambience, Dolby digital sound with varied F&B options, 2K digital projection and recliner seats givingmovie-lovers thebest quality and standards in the business. The primary goal of MUKTA A2 CINEMAS is to provide a multiplex experience in cities beyond the metros at affordable prices. Apart from showcasing latest Hindi movie releases, MUKTA A2 CINEMA also caters to the needs and preferences of its audience by bringing movies of local language.
Commenting on MUKTA A2 CINEMAS launches Rahul Puri – Managing Director, Mukta Arts Ltd said, “The launch of our two new properties in Hyderabad and Sangli demonstrate the commitment Mukta Cinemas has to rapidly becoming a top 5 exhibitor domestically. These two very different properties show that the company is diversifying its product offerings to suits geography and demographics. Our patrons will be thrilled by the quality and service offerings and we expect to build a loyal customer base rapidly. Mukta Cinemas is committed to reaching its goal of 100 screens within the next year and post this launch 5 more properties will launch in 2014.
MUKTA A2 CINEMAS is launching Hyderabad and Sangli properties on July 25, 2014, taking that forward, the companyis all geared to launch 5 more multiplexes – Maharashtra, Bhopal, Aurangabad in the coming months to give cine-goers a redefined movie watching experience.
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.
