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Category: TV Shows

  • 20 years later, ‘The Powerpuff Girls’ still breaking stereotypes

    20 years later, ‘The Powerpuff Girls’ still breaking stereotypes

    MUMBAI: Home-grown animation is finally finding its way to Indian kids’ TV channels but the fact remains that most of the cartoons are predominantly male-oriented. Whether it is a storyline revolving around boys or about a male protagonist, the number of stories about girls is limited. Indian channels are replete with examples such as Chhota Bheem, Pokemon, Doraemon, and Popeye (wherein Olive Oyl is constantly in the need of being rescued).

    One show, which has been the bastion of Cartoon Network (CN) for more than two decades, is The Powerpuff Girls. Produced by Cartoon Network Studios with Nick Jennings as executive producer and Bob Boyle as co-executive producer; it has earned more than $2.5 billion in retail sales in its lifetime. The cartoon was dubbed in various languages such as Japanese, Korean, Brazilian Portuguese, European Portuguese, Finnish and Danish.

    It was in 1995 when the heroic girls got their first animation showcase on a programme called What a Cartoon! Only in 1998 did The Powerpuff Girls get taken seriously with the final episode concluding on 25 March 2005. Blossom, Bubbles and Buttercup weren’t merely cartoons but an image of women empowerment to every girl on the planet. The popularity soared among girls who could finally connect with avatars that represented their inner ambitions of making the world a better place.

    Come February, the network is celebrating its 20th anniversary with the global rollout of new episodes, events and products that will continue till 2019. The fourth sister, Bliss, will also return throughout the year.

    In most shows around that time, and even now, male characters were given the more masculine qualities like strength, valour, courage and the tag of being the ‘rescuer’ while the females were restricted to roles of the humble daughter or girlfriend or a side character (Misty in Pokemon, Shizuka in Doraemon). The transformed world hasn’t impacted these characters from being named as ‘all-time favourites’. The vast differences in the personality traits between the strong, funny, deceitful, greedy, smart, charming male characters against the humble, soft-spoken, dependent female characters frame the plot of these shows.

    Today efforts are being made to show female characters without the sexism implicit of earlier times. The cases in point are Merida from Brave, Princess Elsa from Frozen and Princess Riley from Inside Out. Kim Possible was also a groundbreaking show aired in 2002-2007 that showed the life and adventures of a teenage girl.

    Kids imitate what they see and especially characters they fall in love with. These early-age behaviours mould their adulthood as well, making it a strong case for producers to create a balance and indulge in enforced role-reversal.

    Also Read:

    NICK & Motu-Patlu films most watched kids channel & programme in BARC week 13

    Kids today watch more animated content than ever

  • Emerald Media buys controlling stake in Cosmos-Maya

    Emerald Media buys controlling stake in Cosmos-Maya

    Mumbai: Cosmos-Maya, the market leader in IP-led Indian kid’s animation content, has received a shot in the arm as it now tries to cast the net wider in the global market. Emerald Media, the Pan-Asia company backed by global investment firm KKR, has acquired a controlling stake in Cosmos-Maya through a combination of primary and secondary stake acquisition. The capital from this investment will help the animation company with strategic growth initiatives and creating global IPs to further increase its footprint across the world.

    Promoted by filmmakers Ketan Mehta and Deepa Sahi, Cosmos-Maya has been one of the pioneers in the art and technology of animation and visual effects in India.  Over the last five years, the company has produced more than a 1000 half-hour segments of animated content. It has multiple ongoing productions with major television and digital platforms, including Viacom18, Disney Networks, Turner International, Sony Pictures Network, Discovery Networks, Netflix, Amazon Prime Video and ALT Balaji.

    The creators of the Motu Patlu animation series, a popular Indian kids’ show, Cosmos-Maya has a line-up of nine TV shows on air, including Shiva, Eena Meena Deeka, Kisna, ViR – The Robot Boy, Guru Aur Bhole, Chacha Bhatija, Tik Tak Tail and Selfie with Bajrangi. 

    Cosmos-Maya founder and managing director Ketan Mehta said, “The vision for Cosmos-Maya has always been to become a cutting-edge media technology company creating quality Indian content for the global market. The company will benefit greatly with a partner like Emerald Media, which has a strong understanding of the entertainment, broadcast and the OTT space. Through the capital infused, the company intends to develop international projects while leveraging the media relationships of Emerald to expand its global footprint.”

    The company is also working on three international co-productions—Captain Cactus, Atchoo! and Help me Ganesha—in different stages of production and development. Cosmos-Maya targets audiences globally through its own YouTube channel, WowKidz, which has already become one of the fastest-growing channels for kids’ content with more than 2 million active subscribers and over 2 billion cumulative views since its launch in 2016.

    “Cosmos-Maya has created and owns the content for some of the most popular kids’ shows and, hence, has its finger on the pulse of a very captive and influential audience. With the company now focused on the development of content, that crosses geographies, it is poised for growth on a global stage—not to mention the added opportunity of brand expansion and merchandising for its properties. This investment is a great addition to Emerald Media’s growing portfolio as it aligns with our vision of creating an ecosystem that caters to audiences of all age groups,” said Emerald Media managing director Rajesh Kamat.

    Cosmos-Maya CEO Anish Mehta added, “With its successful and sizeable IP bank, strong business associations, a passionate team and the constant quest for quality—combined with the capital, domain knowledge and management bandwidth that Emerald Media brings on board—Cosmos-Maya is now poised for a global 360-degree approach to grow and monetise its brands through content, media, marketing, distribution, licensing and retail to markets, for kids across the world.”

  • 83% of viewers leave historical TV shows midway: Chrome DM survey

    83% of viewers leave historical TV shows midway: Chrome DM survey

    BENGALURU: A Chrome Data Analytics & Media (Chrome) survey of 1,373 respondents reveals that 44 percent of television viewers preferred watching historical shows on television as opposed to 56 percent that said that they didn’t. 1,140 or a little more than 83 percent of the respondents said that they did not watch the complete season of the historical show, as compared to a little less than 17 percent (fractionally more than one sixth) who said that they watched the entire season.

    The Chrome study respondent universe comprised 21 percent of the respondents in the age group of 18 to 24 years; 22 percent were in the 25 to 34 years age group; 25 percent were 35 to 44 years old; 19 percent were 45 to 54 years old and 13 percent were 55+ years old. 53 percent of the respondents were male, 47 percent were female.

    More than half (61 percent) of the 1,140 respondents said that unnecessary stretching of the story beyond limits was the major reason that they did not watch the entire season of a historical. Gradual deviation into love or personal life of the story was another major reason for which 39 percent said that they did not watch the entire season. The other two major reasons were the unnecessary twists and introduction of unknown characters (22 percent) and the fact that the historical was not based on atrue story (18 percent). Please refer to the figure below:

    public://dis1.jpg

    Awareness of the story before viewing it on television was the highest in the case of the historical serial Jhansi ki Rani – 69 percent were aware of the story, followed by the story of Jodha Akbar with 58 percent of the respondents saying that they were aware of the story. Please refer to the figure below:

    public://dis2.jpg

    In order of preference, 55 percent (the highest) of the viewers preferred watching the GEC genre, while 17 percent (the lowest) preferred the kids’ genre.The next most preferred genre – movies was a choice of 48 percent of the respondents. News was the third most preferred genre with 34 percent followed closely behind by Music which scored 33 percent. Please refer to the figure below for content genre preferences.

    public://dis3.jpg

    The Chrome survey was carried out for the launch of the historical TV show Porus on Sony Entertainment (SET). 19 percent of the 1,373 respondents were aware about the story of Porus and Alexander. 56 percent had heard of King Alexander, while only 23 percent had heard of King Porus.

    61 percent of the respondents were aware that of the launch of Porus on television, out of which 81 percent could recall that it would be aired on SET.

  • Zee TV’s new weekend detective drama costs 50% more to produce

    Zee TV’s new weekend detective drama costs 50% more to produce

    MUMBAI: Women empowerment is Zee TV’s new motto as it embraces the recently adopted brand philosophy – ‘Aaj Likhenge Kal’. Its latest weekend primetime show Detective Didi will attempt to inspire the girls of India by showing how Bunty Sharma chooses a bold career of a detective in a male-dominated field.

    Produced by Manik Bedi and Ila Bedi Dutta, the show is both set and shot in the bylanes of Delhi. Bedi, who has previously produced Hitler Didi, says that the investment is also 50 per cent more because of the location change. “The entire crew has been brought from Mumbai for the shoot. It’s an expensive experiment,” he says. The shooting schedule is one year and so planning is being done three months in advance.

    The local police are supporting the shoot as they cover iconic Delhi locations like Chandni Chowk, Jama Masjid, India Gate and Parliament House. “We are mobilising in a way that it is similar to shooting in Mumbai,” he adds.

    Zee TV deputy business head Deepak Rajadhyaksha says that the character demanded Delhi due to its different socio-cultural ethos and to give authenticity to the adventures. He agrees that shooting cost is higher but the channel can manage it.

    Following up Detective Didi’s new time slot of 8-9 pm on weekend, the channel will be opening more such slots. “There is no recipe for success and this show is a big experiment. What we can control are understanding sentiments, requirements and the aspirations and to portray them effectively through the shows,” says Rajadhyaksha.

    Similar shows on other channels target the 9 pm slot but Zee didn’t want to cater to a pure crime audience but rather those that can be relatable to and viewed by families. A few years ago, the channel experimented with Neeli Chhatri Waale at this time which took a dive in ratings after the initial hype. “Our new programming strategy is to provide three different entertainment types from 8-11/11.30 pm,” reveals Rajadhyaksha. If Didi makes a mark in one year, the channel may give the producers a longer lifeline. This is also Zee’s first attempt at a detective drama on the weekend.

    Rajadhyaksha says that Didi’s storytelling is different from others because of two episodes making one story. That leaves room for just the weekend slot. Bedi says this is better for producers since one topic will be explored on two consecutive days and so the recall value is higher. Zee TV was the one to decide the time slot for the show, which begins on 9 December. Bedi also explains that the success of a show doesn’t solely depend on the time slot, though that is a major factor.

    In the show, Bunty is assisted by a second character Bhim Singh Bhullar and it will attempt to be hilarious as the duo takes different routes to solve cases. Dutta says that Bunty is the reflection of many ambitious Indian women who don’t forget their family responsibilities. “She isn’t a professional detective. She is an amateur with an uncanny knack for spotting crime and arresting it in time. The emotional aspects of a situation help her in cracking a case.”

    The earlier name for the show was Delhi Crime Diaries but that would have made it Delhi-specific, says Dutta. Instead, the producers thought of using the common term ‘didi’ to make it relatable to the audiences.

    Detective Didi is being sponsored by Bagh Bakri Mili Chai, Flamingo Knee Cap and Pillsbury Cookie cake, special partner – Combiflam Icy hot. It is hunting for a title sponsor.

    Didi follows the lives of special agent Bhim Singh Bhullar and private detective Bunty’s journey, amidst their professional assignments, making way for some lighter moments while they investigate the city’s most baffling criminal cases. While Bhim is a jolly cop from the Delhi crime branch who investigates staying well within the rule book, Bunty takes matters into her own hands as she has no faith in the capabilities of the police. In the chase for who solves the case first, Bhim and Bunty, a man and a woman who can’t stand each other, fight tooth and nail to catch criminals and solve many interesting cases. Brilliant at their work and having their own individual strengths, they employ distinctly different methods while solving the same cases. But, when both Bunty and Bhim work together as a unit despite their differences, they seem to successfully solve cases with relative ease. Playing the dynamic character of Bunty Sharma is actor Sonia Balani while Manish Goplani will be seen stepping into the pivotal role of Bhim Singh Bhullar.

  • Original Indian kids’ animation content is the need of the hour

    Original Indian kids’ animation content is the need of the hour

    MUMBAI: There is a dire need for creating home-grown content when it comes to kids’ entertainment. The scope for reducing the dependence on acquired content is immense especially since India has loads of unexplored talent.

    Brand extension, merchandising and marketing sponsors’ products are compelling reasons to produce original Indian shows and for this intellectual property (IP) rights are crucial. Shaktimaan was probably the first Indian superhero on TV but today’s popular figures are Chhota Bheem and Motu Patlu.

    “The amount required for one single episode of animation content production abroad will suffice for making the entire series in India,” says Toonz Media country business head development Kishor Chandra Shrivastav, who was speaking on a panel recently.

    A big boost to India’s animation industry came when recently Netflix announced it will be creating a spinoff of Green Gold Animation’s popular show Chhota Bheem as Mighty Bheem.

    Animation production is expensive in comparison to a general entertainment channel (GEC) shows with the former requiring Rs 25-28 lakh an episode as against Rs 5-6 lakh for the latter. The advertising rates, however, commanded by the two are inversely proportional according to estimates.

    The type of content and the investment in it also attracts the right kind of sponsors. ICOM Global vice chairman and South Asia Kushal Sanghvi says that low budget content will only get a handful of sponsors while big budget and sponsors will require the storyline to be universal. He gives the example of Disney’s Jungle Book that was a hit in India.

    Sanghvi also highlighted that Indian shows lack merchandising power with the notable exception of Chhota Bheem. For great quality content and merchandising, investment needs to touch Rs 40-50 lakh an episode.

    Punnaryug Artvision founder Ashish Kulkarni differed in his opinion. He said, “I don’t agree completely. In India, there are characters which get licensed. Sometimes, just the character is licenced and not the content. We do not have interesting brands for Indian cinema.”

    The supply of India-produced shows is very limited compared to the unlimited growth of Japanese and other foreign language cartoons such as Doraemon and Shinchan. Since Japan has 15-20 years of headstart over India, their library is massive. In 2016, Cartoon Network had 91.61 per cent foreign shows, Pogo had 82.67 per cent while Disney had 60.61 per cent shows from abroad.

    Licensing can happen only if the character is extremely popular for which it needs to be present on both TV and OTT.

  • Pogo launches indigenous slapstick comedy Andy Pirki

    Pogo launches indigenous slapstick comedy Andy Pirki

    MUMBAI: Pogo is all set to roll out a new show – Andy Pirki – a slang word in the Tulu language (a language spoken on India’s southwest coast) which means ‘mad cap’. It is a silent slapstick comedy series launching from 3 December 2017, created by Mangaluru based AUM animation studios. The series will be telecasted every Sunday at 9.30 am.

    The studio came up with the idea for the show in 2009, but as a small studio, it lacked experience and budget. By 2013, the studio was producing an episode every two months. The story’s main characters include Andy, a pink dinosaur and Pirki a caveman who develop an inimitable bond because of their unique circumstances.

    Turner executive director and network head-kids South Asia Krishna Desai said that the channel decided to create a silent slapstick comedy was to ensure it has a universal appeal without language barriers or political or demographic distinctions. He added, “Since there are no dialogues, the original show is emphasised. Every show has 50 per cent visual and 50 per cent audio content; here we can deliver great audio experiences as well.”

    Andy Pirki will have 80 episodes and Pogo has planned production for 2-3 years. It is using only open source software like Blender and Krita.

    Desai said that when it comes to watching television, kids prefer light-hearted content. “Six or seven years ago there were many genres like drama and history. They were quite popular then, but now we have funny and light-hearted content that is becoming popular.”

    The production house and the network co-own the intellectual property rights (IP). It was the production house AUM animation that approached the network first a year and a half ago, showing up the rough drawings of the characters and then impressed by them, the deal got finalised.

    AUM Animation Studios MD Shreekaanth Dass said, “The initial idea to produce Andy Pirki came to us in the inception year of AUM Animation Studios in 2009. Andy Pirki has already won multiple industry awards for best animation in India and international markets.”

    Talking about the viability of the show, especially when the audience is shifting to over the top (OTT) platforms, Desai said that it is a growing trend, but as of now, it is urban-centric which can change in the long run. “In the short term, we don’t see television viewership getting affected by OTT. In long-term, anything can happen. If OTT is growing, we make sure our franchise is available digitally and it is available on linear TV as well.”

    As far as the quality of Indian content versus foreign ones is concerned, Desai says that kids don’t understand this concept and enjoy things they like.

    Awards won by Andy Pirki

    FICCI FRAMES ‘BAF’ award 2015, 2016 and 2017 – Category: Best animated episode (National)

    FICCI FRAMES ‘BAF’ award 2015 and 2017 – Category: Best animated episode (International)

    DIGICON6 India awards 2015 – Category: NextGen India

  • KBC returns SET to top 10 channels across genre list

    KBC returns SET to top 10 channels across genre list

    BENGALURU: The ninth season of the Indian spin-off of the very popular Who Will Become a Millionaire under the Indian moniker Kaun Banega Crorepati or KBC commenced on Monday, 28 August 2017.

    According to sources, this season has broken registration records of all previous seasons by registering 19.8 million citizens on the show. And,the viewership of the game show’s episodes over five days until Friday, 1 September 2017 was good enough to bring Sony Pictures Network’s flagship Hindi GEC Sony Entertainment Television (SET) into the top 10 channels across genre list for week 35 of 2017.

    SET garnered ninth rank with 504.095 million weekly impressions Broadcast Audience Research Council of India (BARC) list for week 35 of 2017 (Saturday, 26 August 2017 to Friday, 1 September 2017) – Top 10 Channels Across Genre : All India (Urban+Rural or U+R) : 2+ Individuals. The channel had last appeared in the top 10 channels list across genres in week 11 of 2017 (Saturday, 11 May 2017 to Friday, 17 May 2017) at eighth place with 472.118 million weekly impressions.

    KBC was the second most watched primetime programme in the Hindi GEC (U) markets in week 35 of 2017 with 6.253 million impressions according to BARC data for the top 5 Hindi GEC programmes in the Hindi Speaking Market (HSM) Urban NCCS All : Primetime (1800 – 2330 hrs) : 2+ Individuals.

    Six Hindi GEC and two GEC channels each from the Tamil and Telugu markets made up the list of the top 10 channels across genres list in week 35 of 2017. A remarkable feature for week 35 of 2017 was the presence of four Star India channels in the top10 across genres list. Further, two channels each from the Sun TV Network and Zee Entertainment Enterprises Limited (Zeel) and one channel each from Network 18 (Viacom 18) and Sony Pictures Network India (SPN) made up the top 10 channels across genre list for week 35 of 2017.

    The Sun TV Network’s flagship Tamil GEC Sun TV retained its pole position in the top 10 channels across genres list for week 35 of 2017 with 1,009.285 million weekly impressions. All five programmes in the top 5 Tamil programmes list for the TN/ Puducherry (Urban+Rural): NCCS All : Primetime (1800 – 2330 hrs) : 2+ Individuals in week 35 of 2017 were from Sun TV.

    Sun TV was followed by Zeel’s FTA Hindi GEC Zee Anmol that also retained its week 34 position of second place in week 35 with 778.876 weekly impressions. The channel’s programmes Jamai Raja and Kaala Teeka were the ranked first and second respectively in the top 5 Hindi GEC programmes in the HSM (R) : NCCS All : Prime Time (1800 – 2330 hrs) : 2+ Individuals. Further Jamai Raja on Zee Anmol was also ranked third in week 35 during primetime in the HSM GEC (U+R) markets in week 35 of 2017.

    Network 18’s flagship Hindi GEC Colors moved up one place to third rank in week 35 with 645.973 million impressions on the back of strong support from the HSM (U+R) and the HSM (U) markets during primetime for the eighth season of its reality and stunt television show Fear Factor Khatron Ke Khiladi. Zeel’s flagship Hindi GEC moved down one place to fourth place with 642.612 million impressions. Three of its shows – Kumkum Bhagya and its spinoff Kumkum Kundali and reality singing show Sa re ga ma pa Little Champs were present in the top 5 programmes list during primetime for HSM (U+R) and Kumkum Bhagya was present in the top 5 programmes list during primetime for HSM (U) for week 35 of 2017.

    Star India’s flagship Hindi GEC Star Plus was placed fifth with 626.212 million weekly impressions followed by the Sun TV Networks flagship Telugu GEC Gemini with 538.077 million impressions. Star India’s flagship Telugu GEC Star Maa was ranked seventh with 531.41 million weekly impressions followed by Star India’s FTA Hindi GEC and newly christened Star Bharat with 531.083 million weekly impressions at eighth place.

    As mentioned above SET was ranked ninth followed by Star India’s flagship Tamil GEC Star Vijay at tenth place with 486.959 million impressions.

  • Rajkummar wins award for Trapped, ‘Shab’ Australian premiere on 18 Aug

    Rajkummar wins award for Trapped, ‘Shab’ Australian premiere on 18 Aug

    NEW DELHI: Actor Rajkummar Rao won WESTPAC Special Mention Best Actor Jury award at the Indian Film Festival of Melbourne for the survival drama Trapped released this year.

    Rajkummar won huge critical acclaim for the thriller helmed by award-winning filmmaker Vikramaditya Motwane. The movie was recently nominated at the Melbourne Film Festival.

    At its world premiere at the Mumbai Film Festival earlier, the film had received a standing ovation. After a series of phenomenal successes, this nomination is another feather in his cap.

    Rajkummar’s highly anticipated movie Newton will also be premiered at this coveted film festival.

    Rao said, “Trapped was a very challenging film for me and I guess this recognition is the result of all the hard work put in by Vikram sir, me and the whole team. I wish to continue to be on this journey of exciting scripts and films”.

    Meanwhile, the Raveena Tandon starrer ‘Shab’ by Onir will have its Australian premiere on 18 August at the Indian Film Festival in Sydney. This is a three-day festival. The film also stars Ashish Bisht, Arpita Pal, Areesz Ganddi and Simon Frenay.

  • How Faceware became Contiloe’s ‘Vighnaharta’

    How Faceware became Contiloe’s ‘Vighnaharta’

    While it may seem extremely cool to don a helmet with a head-mounted camera and shoot, motion capture is a technique that involves an entirely different level of complexity. James Cameron’s Avatar beautifully used the technology for the CGI created characters of the Na’vi tribe; and the Planet of the Apes series exploited the technique successfully with Andy Serkis’ Ceaser becoming the most memorable character in the film.

    With the amount of research, training and skilled execution that comes with using this technology, it is an equal amount of dare to execute it for a TV show. And this dare has been taken up by Abhimanyu Singh’s Contiloe Pictures for their upcoming mythological TV show Vighnaharta Ganesh, making it the first TV show in India to use motion capture.

    Why Motion Capture (mocap)

    “Whenever Ganpati has been shown on screen, you will see makeup done to convert his human face to an elephant face,” said Contiloe Pictures CEO Abhimanyu Singh. “It looks odd,” he added, and argued that the form of an elephant’s face cannot be done just by applying makeup on human’s face. “That is why we have used mocap.”

    The technique is used for the elephant head of Ganesh in the show, and will be seen from the third or fourth episode.

    For detailed story, read here:

    Exclusive: Contiloe recreates the elephant-lord in ‘Vighnaharta Ganesh’ with MOCAPtivating technique

  • Dishum Awards hoist Bhojpuri flag in London, to be telecast on 27 Aug

    Dishum Awards hoist Bhojpuri flag in London, to be telecast on 27 Aug

    MUMBAI: The Dishum International Bhojpuri Film Awards 2017 has become the first-ever regional entertainment show ever to be held in London — on 30 July. Held at the iconic O2 Arena, the awards were given away at a function attended by the who’s who of Bhojpuri and Bollywood entertainment industry.

    The next edition of the Dishum IBFA Awards shall be held in Malaysia in July 2018.

    The Dishum IBFA awards will air exclusively as a three-hour extravaganza on Dishum Channel on 27 August ’17. Organised by Yashi Films, the IBFA Awards have taken a huge leap compared to the first two years of the show held in Mauritius (2015) and Dubai (2016) respectively.

    The show is being marketed with a campaign including outdoor, television and print media.

    Expressing delight at spreading Bhojpuri culture across the globe, Dishum Broadcasting director Vishal Gurnani said, “Bhojpuri is the second-largest speaking language after Hindi. Not only in India but in every corner of the world you will find Bhojpuri speaking people. ‘Dishum Channel’ is all set to enthrall viewers and transform Bhojpuri television from 15th August, 2017. The Dishum IBFA Awards is our endeavor to spread Bhojpuri Entertainment and Bhojpuri culture across the world!”

    This show had great performances by superstars like Ravi Kishan, Manoj Tiwari, Dinesh Lal Yadav (Nirahua), Pawan Singh and by leading actresses like Madhu Sharma, Divya Desai, Pakhi Hegde, Amarapali Dubey, Sambhavana Seth, Akshara Singh, Shivika Diwan, Anjana Singh, Karishma Tanna, Rashmi Desai and Seema Singh. To facilitate the occasion and honour their emotional connect with the Bhojpuri language and the industry, Bollywood icons Govinda and Shatrughan Sinha were also present.

    Pawan Singh and Madhu Sharma won the “Best Actor” and “Best Actress” award, respectively. Dinesh Lal Yadav”(Nirahua) and Amarapali Dubey received the “Best Dishum Jodi Award” of the year award and Ravi Kishan got the “Best IBFA Critics Award.”