MAM
Publicis Worldwide India bags integrated creative mandate for Pramerica Life Insurance
Mumbai: Publicis Worldwide India, part of Publicis Groupe India has bagged the integrated creative mandate for Pramerica Life Insurance.
Commenting on the partnership, Publicis Worldwide India, managing director Oindrila Roy said, ” We are thrilled to be partnering with Pramerica Life Insurance. It is a highly respected brand with a strong commitment to providing innovative and customer centric life insurance solutions. We are confident that our deep understanding of the category coupled with our creative expertise will help Pramerica exceed its business goals in India.”
As part of the mandate, Publicis Worldwide India has launched a heartfelt and inspiring two-part digital campaign, ‘This is my Climb’, for the brand. The campaign portrays tales of purpose, hope, and resilience, resonating with people at different stages of life. Through compelling short films, it delves deep into the emotional essence of human experiences, seamlessly blending the themes of purpose and resilience in people’s ‘This is my climb’ narratives.
Pramerica Life Insurance chief marketing officer Amaresh Jena said, “This is my Climb is not just a campaign; it’s a manifestation of our brand’s aspirations and goes beyond storytelling, embodying Pramerica Life Insurance’s core goals. Our objective is to imbue each life we touch with a profound sense of security and empowerment, echoing our vision. Aligned with our mission to be a trusted friend, guiding individuals to informed insurance choices, the campaign aims to provide support during life’s challenges and inspire enduring confidence”
The first film depicts the family of defence personnel, showcasing the unwavering commitment and dedication of our men in uniform. It is also Pramerica Life’s tribute to the unsung heroes and underscores the insurer’s promise to stand by them and their families through life’s myriad challenges.
The second film portrays the selfless journey of a father, who sets aside his goals and aspirations to nurture his child’s dreams through sheer willpower and sacrifice. Both films underscore Pramerica Life Insurance’s commitment to supporting individuals at every step of their climb.
Publicis Worldwide India ECD’s Srijan Shukla and Pratheeb Ravi said, “The campaign is conceptualized around a simple truth that there are challenges and struggles in everyone’s life. But it is these climbs and struggles beyond which lie real success. These climbs might seem very ordinary but are in fact tough on the individuals who actually face them. Pramerica Life wanted to be a partner in these extraordinary climbs of ordinary people. The films focus on the lives of ordinary people and celebrate the moment when they decide to take up the climb. We wanted to keep the stories honest and authentic so that the audience resonates with them,”
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.
