Digital
Must Watch Netflix Films – Recommended by Daily Research Plot
Online Content Consumption has increased after the Worldwide lockdown in 2019, Audiences are enjoying watching movies and series online now more than in theaters and here we have brought a list of the must-watch Netflix Films which has been recommended by Daily Research Plot, which is an Online News and Articles Portal for Movie, TV Series, and Technology Reviews and Updates launched in 2019 by Crisp Multimedia Solutions Pvt. Ltd.
So we were discussing the list of must-watch films on Netflix, The year 2022 was really very bad for Bollywood Industry but other industries in India and Hollywood had achieved so much as the few critically acclaimed and entertaining films have been released on Netflix in 2022. And the Author and Owner of Daily Research Plot have curated a few of the titles which you must watch on the streaming giant.
So, here is the list of Must Watch Movies on Netflix:
End of the Road
The film was released on Netflix in September 2022 has been directed by Millicent Shelton, the murder thriller film revolves around a road trip of a woman with two children and her brother, it’s one of the most-watched films worldwide.
Do Revenge
Do Revenge is another coming-age comedy-drama available on Netflix, directed by Jennifer Kaytin Robinson (co-writer of Marvel’s Thor: Love and Thunder). The story follows one school girl’s revenge on her boyfriend.
Love in the Villa
If you are a fan of Romantic Stories in Italy, you should definitely watch this film directed by Mark Steven Johnson (who directed the film Daredevil starring Ben Affleck and the famous film Ghost Rider). Love in the Villa is also one of the most-watched films on Netflix in different countries.
Persuasion
It’s one of the most watched critically acclaimed films on Netflix in 2022 based on a novel of the same title.
Other titles which you should watch-
There are various other titles that you should watch from different genres are Gray Man, Senior Year, The Sea Beast, Hustle, This is Not a Comedy, The Adam Project, Day Shift, and Metal Lords.
All the films have been watched and reviewed by the team and authors of Daily Research Plot, which was started by Balram Jee Jha and his partner under their Digital Marketing and Media Agency to provide fun facts, reviews, and production updates on Comics, Movies, and TV Series and now the team has started few more section their websites like Celebrity Gossips, Tech Reviews, Business, Lifestyle, and Gadgets News Updates.
This year in 2022, the team has also started their new venture for Indian and Hindi Audiences with two new Portals – For Bollywood News and South Industry News and Celebrity Gossips, they have launched TollywwodLife.Com and for Hindi General News and Updates – GazetaPost.Com.
The team and company have also planned to work on Video Content and they have already started reviewing Hollywood Series on Daily Research Plot’s Youtube Channel and have planned for a few more Channels too.
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.
