MAM
Touching Lives. Spreading Happiness – A short film by Ambuja Neotia
MUMBAI: Ambuja Neotia, a Kolkata based organisation, foraying into realty, hospitality, healthcare, education and Startup incubation, has built its business around making its customers happy during its existence of last 25 years. The Group has been driven by the sole purpose of touching lives and spreading happiness to make a difference to the way people live.
This thought has been captured in a short film, called #Spreadinghappiness, where the little joys of life have been celebrated. The joy that becomes the purpose of being, the joy that is unique to each one, the joy felt by a father on being gifted a house by his daughter, to the joy of experiencing motherhood for the first time, joys that go beyond fleeting moments of pleasures but manifest themselves in a deeper sense of satisfaction and well-being. The film is also a way of thanking the Group’s patrons, for having their unflinching trust in them, and for inspiring and supporting them through their various endeavours. Developed in-house, this 3mins short film has been directed and produced by Tiyash Sen.
The recipe to happiness has a handful of key ingredients — a rich and wholesome living space, a holistic learning experience, an enriching work opportunity and environment, ample options for unwinding and good health. Ambuja Neotia’s goal is to deliver this happiness through their products and services and they look at achieving this by touching as many lives as possible through their five business verticals offering quality product and memorable experiences that bring smile and joy to the lives of its patrons and stakeholders.
Mr. Harshavardhan Neotia, Chairman, Ambuja Neotia believes in this concept of #Spreading Happiness, as a corporate philosophy, “Since the last two and a half decades, Ambuja Neotia has aspired to make a difference in the way people live through various initiatives in realty, hospitality, healthcare, education and Start-up incubation. In pursuit of touching lives and spreading happiness, Ambuja Neotia through its diversified business model has created differentiation that is lived and experienced by focusing on the aspect of sustainability and by building environments for the well-being of each member of a family. We are extremely thankful to all our patrons and stakeholders for the continued love and support they have extended towards us.”
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.
