ITV

Category: Fiction

  • Japanese drama about child abuse finds new home in Greece

    Japanese drama about child abuse finds new home in Greece

    ATHENS: Greece has become the latest country to embrace one of Japan’s most emotionally charged television dramas. Mother, a series that tackles the harrowing subject of child abuse through the story of a teacher who kidnaps her student to save her from domestic violence, premiered on Alpha TV on September 25th.

    The Greek adaptation, titled Na me les mama (Call me mom), marks the 11th international remake of the Nippon TV original—making it the most globally adapted Asian scripted format on record. Filmiki, the Greek production company behind the series, worked closely with Nippon TV to maintain the show’s emotional core whilst adapting it for local audiences.

    “Mother is a story that has transcended cultures,” said Nippon TV scripted format sales and licensing executive Sally Yamamoto. The series has already conquered markets across Asia, Europe and the Middle East, with versions airing in South Korea, Turkey, Ukraine, Thailand, China, France, Spain, Saudi Arabia, Mongolia and the Philippines.

    The original Japanese drama follows a woman in her mid-thirties who lives an apathetic existence until she discovers one of her pupils is being abused at home. Unable to understand her own impulses, she kidnaps the child and attempts to raise her as her own daughter whilst on the run from authorities.

    Alpha TV programme director Christos Kompos described the series as “one of these stories that we feel really honoured to share with our audience.” The adaptation will stream simultaneously on Alpha TV’s HbbTV platform.

    The show’s unflinching examination of society’s tendency to ignore child abuse has struck a chord with international audiences, proving that some stories need no translation to resonate across cultural boundaries.

  • Global television triumphs at Venice TV Awards 2025

    Global television triumphs at Venice TV Awards 2025

    VENICE:  Television’s finest have been crowned at the Venice TV Awards 2025, with productions from 32 countries proving that quality programming knows no boundaries. The ceremony, backed by the Association of Commercial Television and Video on Demand Services in Europe, the International Music + Media Centre, and the European Group of Television Advertising, celebrated another bumper year for the box.

    Britain emerged as a standout performer, claiming four categories including the coveted documentary prize for The Man Who Definitely Didn’t Steal Hollywood from Wonderhood Studios and the BBC. The corporation also triumphed in comedy with Ludwig, starring David Mitchell, whilst securing wins in performing arts and children’s programming.

    Japan flexed its creative muscles with three victories, including the television film award for Driving into the Storm and animation honours for Luka and the Flower of the Sun. The country’s technical prowess shone through in the cinematography category with Deep Ocean: Kingdom of the Coelacanth.

    Canada’s Empathy from Trio Orange took the series crown, whilst South Korea’s Couple Palace dominated light entertainment. France claimed both sport and technology categories, with Canal+’s Giroud and TF1’s innovative 8 May 1945 respectively.

    The awards spanned 18 categories, from traditional documentary and news coverage to cutting-edge cross-platform content and branded entertainment. America’s CBS News won recognition for its Red Sea reporting, whilst NBCUniversal’s Peacock platform scored with its Paris Olympics coverage.

    Smaller television markets also punched above their weight. Finland’s Queen of Fucking Everything earned the direction prize, whilst Germany’s film school production If I could fly claimed the new talent award.

    The ceremony underscored television’s resilience and creativity in an increasingly fragmented media landscape. As streaming platforms continue to reshape viewing habits, traditional broadcasters and digital natives alike demonstrated that compelling storytelling remains the industry’s beating heart.

    With productions ranging from hard-hitting documentaries to frothy entertainment, the winners reflected television’s remarkable breadth and ambition in 2025.

  • The return of Tulsi: Why Kyunki Saas Bhi Kabhi Bahu Thi will still hook India 25 years later

    The return of Tulsi: Why Kyunki Saas Bhi Kabhi Bahu Thi will still hook India 25 years later

    MUMBAI: It’s been 25 years since Tulsi Virani first walked into our living rooms, but the magic of Kyunki Saas Bhi Kabhi Bahu Thi hasn’t dimmed a bit. Ekta Kapoor and Balaji Telefilms’ magnum opus remains as endearing today as it was when it first aired — a reminder of the power of family ties in an increasingly fragmented modern India.

    A Family Portrait in an Age of Isolation

    For those of us who grew up in bustling joint families, watching the Viranis feels like coming home. Their laughter, their rituals, even their quarrels — all echo a world that’s slowly slipping away. Today, nuclear households dominate India’s urban landscape. Parents are often left in old-age homes, siblings are scattered across cities and time zones, and “quality time” has been replaced with curated Instagram reels. Yet, as the Viranis gather under the palatial roof of Shantiniketan, the series offers a bittersweet reminder of what we’ve lost — and why we still yearn for it.

    Old Tropes, New Resonance

    Yes, the show is steeped in traditional tropes: Mihir as the patriarch, Tulsi shouldering the emotional and domestic burdens. But there’s nuance beneath the surface. Mihir is not a dictator but a partner — one who values Tulsi’s opinions, especially on their daughter Pari’s life choices. Their partnership reflects a subtle but important evolution in how couple dynamics are portrayed: mutual respect in a traditional framework.
    MIHIR & TULSI
    A Gripping Opening

    The revival wastes no time. From the very first episode, where preparations are underway for the Virani elders’ 38th wedding anniversary, viewers are swept back into the grand world of Shantiniketan. The writing is crisp, the camerawork fluid, the lighting lush, and the casting absolutely on point. Balaji’s signature flair for scale and detail is intact.

    The Sacrifices of Tulsi

    In the first two episodes, Tulsi remains the selfless heart of the household. She attends her anniversary party without a care for glamour, even giving away her saree to a relative. Midway through the celebration, she dashes to rescue her son Angad after a car accident, promising him she won’t tell Mihir. She returns to the festivities as though nothing happened, her own emotional turmoil buried under duty. These sacrifices define Tulsi — the glue of the Virani family.

    Cracks Beneath the Perfect Surface

    Of course, no Virani gathering is without its shadows. A jealous sister-in-law simmers in resentment, praying for Tulsi’s downfall. And in the third episode, a sensitive issue surfaces: Tulsi, older and heavier, worries about her fading youth next to Mihir’s enduring vitality. His tender reassurance — that she is the pillar on which Shantiniketan stands — transforms the moment into one of the show’s most moving exchanges.

    A Timeless Winner

    With just three episodes, it’s clear that Star Plus, Ekta Kapoor, and Balaji Telefilms have another winner on their hands. More than a television drama, Kyunki Saas Bhi Kabhi Bahu Thi is a cultural touchstone — a reminder that while lifestyles may change, our hunger for love, loyalty, and family never will.

    As the Viranis sit down together under the glowing chandeliers of Shantiniketan, one thing is certain: some sagas don’t just entertain us — they become part of who we are.

  • Content bigwigs converge in Mumbai for Indiantelevision.com’s The Content Hub

    Content bigwigs converge in Mumbai for Indiantelevision.com’s The Content Hub

    MUMBAI: The floodgates of content may be open, but India’s audience has evolved—and she’s no longer easily pleased. That’s the sharp message echoing through the plush halls of JW Marriott, Juhu on 23 July as the ninth edition of Indiantelevision.com’s The Content Hub Summit gets underway.

    The theme, The End of the Age of Innocence, captures the new reality: streamers, broadcasters, and filmmakers can no longer afford to shoot in the dark. With 47 of the industry’s sharpest minds in attendance, it’s a day packed with soul-searching, strategy, and storytelling pivots.

    The curtain-raiser is a heavyweight panel on The Future of Original Content, featuring SonyLiv’s Saugata Mukherjee, JioStudios’ Tejkarran Singh Bajaj, Rose Audiovisuals’ Goldie Behl, Pocket Aces’ Aditi Shrivastava, Applause Entertainment’s Swati Patnaik, and Terribly Tiny Tales’ Anuj Gosalia, moderated by E&Y’s Raghav Anand.

    That’s followed by a fireside chat between Prime Video’s Nikhil Madhok and Indiantelevision.com’s founder Anil Wanvari, diving deep into how platforms are rewriting playbooks.

    Next up: Mindset Change: You are not making for a single screen, a spirited panel on diversifying content, with Fremantle’s Aradhna Bhola, Applause’s Sunil Chainani, Juggernaut Productions’ Samar Khan, Sri Adhikari Brothers’ Kailash Adhikari, Marigold Studios’ Hemal Thakkar, and Balaji Telefilms’ Nitin Burman. Chairing the discussion is Bodhitree Multimedia’s Sukesh Motwani.

    JioStar’s Alok Jain is slated to stir things up with a solo presentation, Reclaiming Bold – Why Indian Entertainment Must Dare Again.

    A burning issue up next: the inconsistent fortunes of Hindi cinema at the box office. A high-stakes panel, Getting the Business Model Right, features Panorama Studios’ Abhishek Pathak, Red Chillies’ Aashish Singh, Ormax Media’s Sailesh Kapoor, Friday Filmworks’ Devendra Deshpande, and Zee Studios’ Pragati Deshmukh, with film critic Mayank Shekhar at the helm.

    Regional powerhouses take centre stage in The Rise of Regional Content, chaired by Elara Capital’s Karan Taurani. Speakers include PTC’s Rabindra Narayan, Shemaroo’s Arpit Mankar, Junglee Pictures’ Mamta Kamitkar, ETV Win’s Saikrishna Koinni, OTT Play’s Avinash Mudaliar, and Banijay Asia’s Rishi Negi.
    A rare fireside chat follows, with Banijay Asia CEO Deepak Dhar in conversation with Shekhar, setting the tone for a deeper dive into genre-bending creativity.

    That’s precisely what the next panel explores—Pushing Genre Boundaries. Writer-director Kussh S Sinha, producer-director Ravindra Gautam, Banijay’s Mrinalini Jain, Applause’s Rahul Ved Prakash, and director Vishal Furia spar with trade analyst Saurabh Varma moderating.

    The day wraps up with two back-to-back masterclasses. The first, on Rana Naidu, sees actor Sushant Singh, director Suparn Varma, and screenwriter Vaibhav Vishal join film critic Stutee Ghosh. The second, on Mandala Murders, features actor Vaani Kapoor, Netflix’s Tania Bami, and directors Gopi Puthran and Manan Rawat, with editor Swati Chopra in the chair.

    In a market where content is no longer king unless it resonates, The Content Hub Summit has one message: India’s audiences have grown up—and the industry must too.

    A cross-section of India’s content powerhouses has lined up in support of The Content Hub Summit, signalling the growing importance of storytelling as a strategic business lever.

    JioStar leads the pack as presenting partner, while Applause Entertainment and Banijay Asia have come on board as associate partners. Fremantle is the lanyard partner, ensuring high visibility with every badge flash.

    The industry partners roster reads like a who’s who of television and digital production: Contiloe Films, Sol Productions, and OTT Play have lent their support, amplifying the summit’s reach and relevance.

    The show of strength from across the ecosystem—studios, streamers, and production houses—underscores the summit’s sharp focus on content strategy in a market where the audience is now firmly in the driver’s seat.

  • Content India summit sets stage for global romp

    Content India summit sets stage for global romp

    MUMBAI: India’s entertainment moguls have their sights set on world domination—and they’re not being coy about it. The inaugural Content India Summit 2025 wrapped up two days ago with grand ambitions and plenty of showbiz swagger, positioning itself as the launching pad for Indian content’s international conquest.

    The summit, a partnership between DTH platform Dish TV India and C21 Media, brought together industry heavyweights to tackle the thorny question of how to make Indian entertainment as globally irresistible as its cuisine. Conversations probed everything from audience consumption patterns (binge-watching included) to the commercial scalability of Bollywood’s finest exports.

    Dish TV’s chief executive Manoj Dobhal didn’t mince words about the company’s ambitions: ” Our vision with Content India is to build a dynamic content eco-system that connects each and every constituent of Content creation in India with global opportunities. The Content India Summit 2025 marks the beginning of a transformative journey—one that fosters long-term collaborations, drives industry innovation, and expands market potential. With Indian storytelling gaining global acclaim, this is the moment to amplify international partnerships and position India as a content powerhouse.”

    C21Media’s managing director David Jenkinson chimed in with his own dose of enthusiasm, trumpeting India’s “undeniable influence” on the global content market. Said he: “Content India Summit is a crucial step toward shaping the future of Indian entertainment in a globally connected landscape. This event has brought together the brightest minds in the industry to address key challenges and unlock new opportunities for collaboration. India’s influence on the global content market is undeniable, and this summit lays the foundation for meaningful partnerships that will drive the industry forward.As we look ahead to the full Content India conference in 2026, our mission remains clear—to create a platform where ideas, talent, and business come together to define the next chapter of entertainment. This is just the beginning of an exciting journey for India on the world stage.”

    The gathering wasn’t all champagne and canapés, though. Sessions delved into India’s creative advantages—its talent pool, technical prowess, and budget-friendly production costs—while also wrestling with the delicate balance of preserving cultural authenticity while making content palatable for international viewers.

    Simon Mirren of Case Closed offered perhaps the most sobering advice: “Understanding the local culture is key to success in the Indian market. Many creators try to make TV for the West, which is a mistake. The focus should be on telling great stories that resonate here.”

    For those eagerly awaiting the industry’s new playbook, a report titled The Future of the Indian Entertainment Business Debate is set to drop within four weeks, promising to reveal how Bollywood and beyond plan to seduce global audiences.

    With streaming platforms hungry for fresh content and international viewers increasingly open to subtitles, India’s entertainment industry appears ready for its close-up—and Content India seems determined to direct the scene.

  • Waves Bazaar: Indian govt’s optimistic attempt at content trading platform

    Waves Bazaar: Indian govt’s optimistic attempt at content trading platform

    MUMBAI: Here’s another effort to set up an online marketplace for content trading despite the hundreds of carcasses that line the road of those who tried and failed. And it’s coming in from the Indian government’s ministry of information and broadcasting as well as the electronics and information technology ministry. 

    Called Waves Bazaar, it was unveiled recently  at the National Media Centre in New Delhi, by MIB, railways and electronics &IT, Ashwini Vaishnaw, alongside minister of culture & tourism Gajendra Singh Shekhawat. The launch was attended by senior officials, including MIB secretary  Sanjay Jaju and  filmmaker Shekhar Kapur.

    The platform is being touted as a pioneering one which will transform the global media and entertainment 
    industry.  What it hopes to achieve is becoming a central hub for professionals across film, television, gaming, advertising, music, animation, and emerging technologies such as AR, VR, and XR. Designed to facilitate seamless collaboration. The optimistic view is that  the platform will enable industry players to expand their reach, secure investment, and form high-value partnerships.

    It will feature global networking opportunities, structured buyer-seller meets and transactions, and exclusive access to industry events. The platform is divided into verticals catering to specific sectors, including film production, live events, advertising, game development, music, and digital content.

    For sellers, Waves Bazaar is being positioned to provide a structured environment to showcase services, from VFX and sound design to publishing and advertising. Film producers can connect with distributors, animation studios can pitch to gaming companies, and marketing agencies can engage with brands seeking media solutions. Buyers—including OTT platforms, media agencies, and event organisers—gain access to a streamlined platform for discovering talent and securing content.

    Users register on wavesbazaar.com, create profiles, list services or project requirements, and engage with prospective collaborators. By eliminating geographical barriers and enhancing industry connectivity, Waves Bazaar aims to redefine how business is conducted in the creative sector.(Have we not heard this one before?)
    The launch of Waves  Bazaar coincides with preparations for the inaugural World Audio Visual & Entertainment Summit (Waves 2025), scheduled for 1-4 May in Mumbai. Organised by the Indian government, the summit will showcase India’s creative and technological prowess across broadcasting, film, animation, AI, social media, and digital content.

     

  • Series Mania announces ambitious slate for television pitching forum

    Series Mania announces ambitious slate for television pitching forum

    MUMBAI: Europe’s largest television-series festival has selected 15 projects from a record 406 submissions for its coveted co-pro pitching sessions. Series Mania, to be held in Lille from 21-28 March, will see producers vie for a €50,000 development prize, reflecting the growing importance of international co-financing in the post-peak TV era.

    The selection, drawn from 72 countries including first-time entrants New Zealand and Uganda, spans an eclectic mix of genres. Projects range from Nest, a crime comedy about racing pigeons and the Taiwanese mafia, to Wool, a drama about a revolutionary knitting collective in 1960s Yugoslavia. A 16th project, Ruth’s Ghosts—a legal thriller about abortion rights in 2030 America—will be presented outside the competition.

    The pitching session’s jury includes notable industry figures, led by M-K Kennedy, executive managing director of TV series at StudioCanal. The Forum has been the launchpad for the release of such series as Unspoken (Ukraine), Off Season (Switzerland / France), No Man’s Land (France), Banking District (Switzerland), Eden (France), Keeping Faith (Great Britain), Manor House (Czech Republic), Stella Blomkvist (Iceland), Tabula Rasa (Belgium), Trepalium (France), Warrior (Denmark), Devils (Italy), The Head (Spain), Ever After (Italy), The Last Socialist Artefact (Slovenia, Finland) and We Got This (Sweden)  suggesting the event’s growing influence in Europe’s television landscape.

    “Co-financing is more crucial than ever,” says Francesco Capurro, director of Series Mania Forum. “It’s the key to securing higher budgets, boosting sales and staying competitive on the global stage.” 

    The forum, which launched in 2013, has become a vital bridge between European and international drama projects and potential financial partners.
    The event underscores Lille’s rising prominence as a hub for television development. Last year’s festival attracted 98,000 spectators and 4,200 industry professionals from more than 70 countries, cementing its position as Europe’s premier television-series gathering.

    ANTIPAROS – 6 x 45′ – Greece 
    Genre: Comedy, Crime
    Produced by Dionyssis Samiotis, Development Producer Alexandra Orfanidou, for Tanweer Productions, Co – Producer Mark Denessen, for Ginger Film Flanders (Belgium)
    Written by Alexandros Tsilifonis and George Zafeiropoulos
    Directed by Alexandros Tsilifonis
    Short synopsis: An overworked detective returns to his hometown in the island of Antiparos for a much-needed holiday. But once there, an overly law – abiding British policewoman drags him deep down into the mysterious disappearance of a foreign billionaire, and the most complicated case of murders in his entire career.
     
    CECILIE MARS – 6 x 45′ – Denmark
    Genre: Thriller
    Produced by Karoline Leth for Zentropa
    Written and directed by Christoffer Boe
    Short synopsis: In her pursuit of justice, Cecilie Mars, a brave police officer, faces a moral
    dilemma that pushes her beyond the confines of the law. She embarks on a treacherous path to fight evil.
     
    CONSULTANTS – 6 x 45′ – Germany
    Genre: Political thriller
    Produced by Alexis von Wittgenstein and Gilda Weller for Violet Pictures and Henning Kamm for Real Film Berlin
    Written by Richard Kropf, Bob Conrad, Hanno Hackfort
    Short synopsis: Carlo, a young political campaigner from Berlin, believes he’s landed the job of a lifetime: working at one of the world’s largest strategy agencies, he’s part of a digital campaign opposing a neo-fascist party. He sees himself as one of the good guys—until the day he discovers he’s merely a pawn in a plot of unimaginable scale.
     
    HEIST – 6 x 60′ – Belgium, France
    Genre: Action thriller
    Produced by Dries Phylpo for A Private View and Antoine Simkine for Les Films d’Antoine
    Written by Ben Braeunlich
    Short synopsis: Beirut, 1976. The civil war holds the Lebanese capital captive. And here, amid all this terror, the biggest bank robbery of all times is about to go down.
     
    INTIMACY – 8 x 42′ – UK/Israel
    Genre: Thriller
    Produced by Ariel Weisbrod for Sipur
    Created by:  Dan Berlinka, Maude Sandham, Dan Buckland
    Written by: Dan Berlinka 
    Short synopsis: Sex scene, death scene, crime scene. When an actress is found dead on set, the intimacy co-ordinator feels compelled to investigate, which means taking on the dead woman’s role… in more ways than one.
     
    INVISIBLE – 6 x 45’ – Ireland
    Genre: Mystery Drama
    Produced by Ciarán Charles, Darach Ó Tuairisg & Bernadette Hoban
    Written by Matt Harvey & Marteinn Thorisson
    Short synopsis: A girl no one respects. A man no one believes. A crime only they can solve.
     
    MASQUERADE – 8 x 55′ – Iceland
    Genre: Crime/Thriller
    Produced by Arnbjörg Hafli?adóttir for Glassriver, contact Andri Ómarsson
    Created by Andri Óttarsson & Baldvin Z
    Short synopsis: A young American reporter arrives in a small Icelandic village, investigating an old unsolved abduction case of a four-year-old girl—the granddaughter of the town’s most wealthy and powerful man—who vanished while on vacation in Florida 25 years ago. As she digs deeper, she begins to unravel the village’s darkest secrets, only to realize that those responsible for the abduction are probably still living in the village.
     
    NEST – 8 x 60′ – Belgium, United Kingdom, Taiwan
    Genre: Flamboyant Crime Comedy
    Produced by David Vermander for Cartouche, Anouk Mertens for Neo Studios and James Chia-Hao for Reel Asia Pictures
    Written by Koen Van Sande, Sven Huybrechts, Daniel Lambo and Lai Kin Chang
    Short synopsis: When a charming charlatan and her intellectually challenged brother inherit a promising racing pigeon, they are thrust into a deadly game with the ruthless Taiwanese gambling mafia.
     
    NUCLEAR SUNSET CRUISE – 4 x 45′ – Germany
    Genre: Dramedy
    Produced by Martin Lehwald, Marcos Kantis, Philipp Goeser for Schiwago Film
    Written by Robert Krause and Florian Puchert
    Short synopsis: A clueless East German cruise ship accidentally sails straight into the Cuban Missile Crisis. With nuclear war looming and deck chair battles raging, the real question is: can they survive each other?
     
    PHENOMENA – THE SERIES – 8 x 50′ – Italy
    Genre: Horror/Soapy teen drama 
    Produced by Maria Grazia Saccà for Titanus Production
    Written by Nicola Guaglianone and Menotti
    Short synopsis: Jennifer Corvino, an American student at a fencing academy in the glamorous Dolomites, hides her psychic link with insects. When brutal murders strike, she must learn how to use her secret power to stop the killer, save her comrades and survive.
     
    THE CHAPLAIN – 8 x 30′ – Australia
    Genre: Drama
    Co-created and Produced by Jude Troy for Wooden Horse
    Co-created and Written by Elise McCredie
    Short synopsis: Airport Chaplain TOBIAS WALLACE has a constantly ringing mobile, a drawer full of cash, and a decidedly unorthodox approach to solving the daily crises of an airport. When new management threatens to terminate his contract, Tobias devises increasingly ingenious ways to keep his beloved chaplaincy – after all, it’s the only thing keeping his submerged demons at bay.
     
    THE INSTITUTE – 6 x 50′ – Germany, Denmark
    Genre: Thriller
    Produced by Irina Ignatiew-Lemke for Boxworks Media and Deborah Bayer Marlow for Nordisk Film Productions
    Created by: Esther Gronenborn
    Written by Esther Gronenborn and Astrid Ströher
    Short synopsis: The mysterious death of a PhD student draws a brilliant scientist into a deadly web of deceit and intrigue, exposing the dark side of power and equality in the academic world. 
     
    THE LOTTERY TICKET – 6 x 50′ – Spain
    Genre: Dramedy
    Produced by Secuoya Studios
    Written by Carlos Villa
    Short synopsis: Julia’s 50th birthday turns chaotic as she reveals her terminal cancer, reconnects with her adopted daughter, and a winning lottery ticket sparks a battle, unearthing old wounds and buried secrets.
     
    TOKYO CRUSH – 8 x 30′ – France, Japan
    Genre: Comedy, Romance
    Produced by Jonas Ben Haiem and Jean-Félix Dealberto for Salle Commune, and Hiroko Oda for Flag Inc.
    Written by Clémence Dargent
    Short synopsis: Mona, a bold Parisian chef, is hired to reinvent a struggling Tokyo izakaya – if only Toshiro, the talented (and annoyingly handsome) grandson of the founder, would let her.
     
    WOOL – 6 x 50′ – Serbia, Iceland
    Genre: Drama
    Produced by Milena Dzambasovic for Film Road Production, Jonas Margeir Ingolfsson & Milla Ósk for Act4, Danna Stern for In Transit Productions 
    Written by Milena Dzambasovic (creator), Mladen Maticevic, Birkir Blaer Ingolfsson and Milla Ósk 
    Short synopsis: In 1960s Yugoslavia, a woman transforms a village by uniting housewives into a knitting collective. Their designs catch global fashion attention, revolutionizing their rural lives.
     
     
    The 16th project, announced on February 18 during the Berlinale’s Co-Pro Series:
     
    RUTH’S GHOSTS – 6 x 60’  – US, Germany
    Genre: Legal thriller with supernatural elements
    Produced by Jennifer Fox for A Luminous Mind Production, Tara Grace for Temair Pictures and Jana Lotze for Oma Inge Film.
    Written by Jennifer Fox
    Short synopsis: Set in 2030: Ghosts begin to haunt a Christian pro-life lawyer in New Orleans when she is confronted with arguing in court for her 13-year-old granddaughter’s right to an abortion amidst a national ban.
     

  • MIP London set to welcome over 2,000 delegates

    MIP London set to welcome over 2,000 delegates

    MUMBAI: MIP London is on track to welcome more than 2,000 delegates from 75 countries for its inaugural edition, with strong representation from Europe, North America, Turkey, MENA, Latin America and Asia, said RX France entertainment division director Lucy Smith in an interview to World Screen News. 

    The event has confirmed country pavilions from Belgium, China, France, Korea and Spain, alongside more than 30 Canadian companies supported by Telefilm Canada and SODEC. Major companies including Boat Rocker, DLT Entertainment, Electric Entertainment, Global Agency, Moonbug Entertainment, Movistar Plus+ and Raw Cut have joined previously announced participants A+E Networks, Al Jazeera, Beta Film and others.

    “More than 900 buyers are registered across all genres, with approximately one-third being first-time visitors to London,” said Lucy. “The event has attracted significant interest from digital-first players, FAST channels, AVoD platforms and CTV operators.”

    The conference programme features over 50 speakers from major media companies including BBC, TF1, ZDF, Prime Video, Netflix, YouTube and TikTok. Highlights include Talpa Studios’ launch of new talent format The Headliner, showcases of Asian formats, and a world premiere screening of crypto-currency drama Paper Empire.

    A special fireside chat with David Beckham and Netflix’s Bela Bajaria will take place on the main stage, while the opening cocktail event will feature performances from West End shows including Hamilton and The Lion King.
    The five-day event, priced at £500 for registration, aims to complement existing industry gatherings in London and create additional business opportunities for the content industry.

  • First Amar Chitra Katha woman scriptwriter Kamala Chandrakant passes on

    First Amar Chitra Katha woman scriptwriter Kamala Chandrakant passes on

    MUMBAI: Writers are a much-in-demand breed. Good scriptwriters even more so. Almost every studio head would give an arm and a leg to get a brilliant one on board.

    And imagine what one would feel when we lose one of them. Just ask Amar Chitra Katha CEO & president Preeti Vyas and she will tell you it bites deep, it hurts so much. Her studio has just lost Kamala Chandrakant – a feisty writer of the seventies, eighties and nineties.

    Said Preeti in a tribute to the powerhouse of a teller of stories many of us have grown up reading:

    “We are deeply saddened by the passing away of Kamala Chandrakant, the first woman scriptwriter of Amar Chitra Katha, on 9  Feb, 2025. She was 84. None of us in the present team have worked with Kamala but her stories are legendary.” 

    “Known to be a courageous woman, who thought way ahead of her times, we’ve heard of the many spirited arguments she had with Uncle Pai on why women heroes deserved more space in the comics. She was the scriptwriter for most of the Mahabharata series and for hundreds of other titles.

    “Kamala will always be remembered with awe, respect and affection by our team.”

    RIP Kamala! Your stories will continue to educate generations to come!

    (B&W Picture of Kamala Chandrakant courtesy Preeti Vyas; Kamala has passed on even as the ScreenWrters Association is set to kick off its annual confab on 14 February in Mumbai )

  • Bodhitree Multimedia to launch new drama series Beintehaan Chahatein on Zee TV

    Bodhitree Multimedia to launch new drama series Beintehaan Chahatein on Zee TV

    MUMBAI: The Sukesh Motwani-Mautik Tolia promoted production house Bodhitree Multimedia is pushing the envelope on TV dramas. Come 27 January, and its latest series Beintehaan Chahatein  will premiere on Zee TV. The series delves into the intricacies of relationships, ambition, and love, exploring the tension between personal desires and family values.

    The storyline follows Mugdha, a woman caught between her aspirations for a luxurious lifestyle and her mundane middle-class existence with her honest husband, Siddharth, and their son, Vansh. When Siddharth meets Devika, the emotionally fragile daughter of his wealthy boss, a complex web of desires and moral dilemmas emerges, leading to heightened emotional stakes.

    Beintehaan Chahatein promises an engaging journey of self-discovery, greed, and the challenges that define marital bonds.

    Bodhitree Multimedia  co-founder & chief creative officer Sukesh Motwani remarked, “With Beintehaan Chahatein, we present a narrative rich in layers of love, morality, and ambition, forcing characters to make choices that could irrevocably alter their lives. The series aims to provoke thought about the cost of ambition and the sacrifices we make for love.”

    Zee TV chief channel officer Mangesh Kulkarni noted, “As audience preferences evolve, storytelling must adapt. This mini-series format addresses the demand for engaging, snackable content across diverse genres, presenting stories that explore new themes not yet seen on Hindi general entertainment channels.”

    Kulkarni is just following the mandate of Zee Entertainment Enterprises CEO Punit Goenka to create standout content which appeals to viewers. 

    Beintehaan Chahatein promises a captivating blend of drama and emotional depth, drawing viewers in from the outset.