Tag: Maitri Advertising

  • Breaking youth drug codes with Mathrubhumi’s parent-focused campaign

    Breaking youth drug codes with Mathrubhumi’s parent-focused campaign

    MUMBAI: When it comes to tackling substance abuse, Mathrubhumi is proving that knowledge is the ultimate weapon. The media house’s latest anti-drug campaign, featuring youth icon Roshan Mathew, isn’t about moralising or over-dramatising, it’s about arming parents with the tools they need to spot trouble before it escalates.

    Titled simply yet powerfully, the campaign takes a realistic, engaging approach to the complex issue of youth drug use. It dives straight into the world parents rarely see, decoding the slang, secret codes, and even the pricing of substances that school-going children might encounter. By blending hard facts with practical guidance on monitoring financial transactions and recognising behavioural red flags, the initiative goes beyond typical warnings.

    “We aim to go beyond mere warnings and public appeals. The goal of this campaign is to arm parents with the specific knowledge they need to win this fight,” said Mathrubhumi managing director M.V. Shreyams Kumar. The approach shifts the focus from scaring young people to equipping the adults closest to them parents, families, and teachers with actionable insight.

    Maitri Advertising managing director Raju Menon of which conceptualised the short film, emphasised the strategy behind the realism. “While most anti-drug campaigns target the users themselves, we wanted to speak to those most likely to identify the issue early. Sure, kids might adapt their slang after seeing this, but at least we give parents a headstart.”

    The short film’s reception has been electric, sparking conversations across social media and in households alike. Its appeal lies in its authenticity: instead of bombarding viewers with fear-inducing images or exaggerated scenarios, it presents knowledge in a digestible, relatable format. Parents are shown not just what to look for, but how to interpret subtle signals from behaviour, conversations, and even financial patterns, a roadmap for proactive engagement.

    By leveraging Roshan Mathew’s relatability among the youth, the campaign bridges the generational gap. It reminds parents that influencing children about the dangers of drugs isn’t about confrontation, it’s about connection, awareness, and timely action. Every code word decoded, every price point revealed, and every practical tip shared is a small but crucial victory in the fight against substance abuse.

    Mathrubhumi’s initiative stands out for transforming anti-drug messaging from abstract warnings into tangible, everyday tools for parents. It’s a campaign that proves education and awareness can be both accessible and compelling, encouraging adults to step into the roles they’re naturally equipped for guides, protectors, and early responders. In a world where quick fixes and shortcuts often dominate, Mathrubhumi reminds us that vigilance, knowledge, and parental involvement remain the most effective measures.

    With this campaign, the message is crystal clear: the first line of defence against youth drug abuse isn’t law enforcement or peer pressure, it’s informed, attentive parents, ready to decode the hidden signals before it’s too late.

  • How Maitri’s South-first strategy is shaking up Indian advertising

    How Maitri’s South-first strategy is shaking up Indian advertising

    MUMBAI: Nearly three decades ago, in the laid-back lanes of Kochi, three ex-Mudra execs took a punt on building an ad agency rooted in the South—but with national ambitions. Fast forward to 2025, and Maitri isn’t just holding its ground—it’s quietly becoming one of the most disruptive indie agencies in Indian advertising.

    With offices now spanning South India, the Maldives and Seychelles, Maitri has turned its bootstrapped beginnings into a ₹75-crore creative juggernaut. Its client list reads like an FMCG-Culture-Tech dream team: Netflix, Krafton, Wipro, Saffola, Disney+ Hotstar, and longtime loyals like Muthoot Finance and Mathrubhumi.

    So what’s their killer app? Not AI. Not jargon. But cultural intimacy.
    While the big Delhi-Mumbai shops took a north-to-south approach, Maitri did the opposite—leaning into its home-turf understanding of southern India. It didn’t just talk local; it thought local.

    As managing director Raju Menon puts it, “Nothing can beat consistency. When you deliver creatives to the clients that they love, year after year, you build a relationship. And that relationship builds the brand.”

    That philosophy has brought Maitri not just loyalty, but serious hardware.

    In 2025 alone, the agency walked away with 17 metals at the Indian Marketing Awards South—a haul that included 5 Golds, 8 Silvers and 4 Bronzes for campaigns that blended heart, humour and serious social impact.

    Some of the show-stoppers?

    ●    “How BGMI made a scam ad to expose scam ads” – a digital, social, and influencer-led takedown of online fraud (3 Silvers, 1 Bronze)

    ●    “The suicide note that saved 50+ lives” – a haunting but hopeful campaign for Muktaa Charitable Foundation (1 Gold, 2 Silvers)

    ●    “Let your life shine” for Muthoot Finance – proving finance can feel (1 Gold)

    ●    “Kappa Cultr 2025” – a cultural blast that nabbed a Gold for omnichannel mastery

    Also in their trophy cabinet: campaigns for Asianet, myG, Brahmins, and Mathrubhumi’s International Festival of Letters. Each piece a masterclass in blending storytelling, strategy, and South Indian soul.

    And Maitri’s not just creatively consistent. Their secret sauce is also in the staffing. Employee churn is shockingly low in an industry notorious for its exits. Most of the agency’s top talent—many of whom cut their teeth at global agencies—have chosen to come home, literally and creatively.

    The result? A shop that has the polish of a multinational and the pulse of a neighbourhood storyteller.

    With four consecutive Agency of the Year titles under its belt, Maitri’s next chapter looks like one hell of a ride. Quietly confident, fiercely local, and globally savvy, they’ve proven that a deep understanding of people beats flashy pitches—and that sometimes, the most powerful ads come not from the centre, but from the edge. Or in this case, Kochi.

  • How Maitri and BGMI made a scam ad to expose scam ads

    How Maitri and BGMI made a scam ad to expose scam ads

    MUMBAI: KRAFTON India’s BATTLEGROUNDS MOBILE INDIA (BGMI) has once again tapped into its strong community culture by turning April Fools’ Day into an opportunity for education. This year’s campaign took a humorous yet impactful approach to warn players about the risks of purchasing in-game currency (UC) from untrustworthy sources.

    BGMI partnered with Maitri to launch a bold and innovative scam campaign to raise awareness about scam ads. The campaign hinged on a fake promise: free UC (in-game currency) for BGMI players. To sell the deception, the team collaborated with George Thokkumootil, the iconic character from Akkara Kazhchakal, a beloved Malayalam sitcom.

    Film:

    Through a mockumentary-style video, the team crafted a relatable and engaging story, seamlessly integrating a key message—if players buy UC from unauthorized sources, they risk losing their accounts. The film centers around a quirky salesman who promises players the ultimate BGMI experience, offering everything from UC top-ups and elite passes to exclusive skins and premium vehicles. His pitch is simple: all he needs is the player’s “Money and Account” in return for guaranteed Chicken Dinners, all delivered through his questionable company that claims to cater to every gamer’s needs.

    The video was shot in the US with the original Akkara Kazhchakal team, using their signature humor to create authenticity. The footage was then edited in Kerala by Maitri Advertising. This collaboration ensured that the campaign resonated deeply with the audience, tapping into nostalgia to convey an important message.

    Watch the short film on Battlegrounds Mobile India official Instagram channel. 

    “Akkara Kazhchakal, a beloved Malayalam sitcom from the late 2000s, humorously portrayed the struggles of a Malayali family in the US. Originally airing on TV and YouTube, its popularity soared on Instagram and TikTok through nostalgic clips, memes, and fan edits. The show’s iconic dialogues and scenes, especially those featuring George Thekkumootil, an insurance agent, continue to resonate in pop culture, making it the perfect nostalgic touch for BGMI’s anti-scam prank.” – Francis Thomas, Group Creative Director, Maitri Advertising.

    Website: 

    To add credibility, the campaign also featured a dedicated landing page, reinforcing the importance of making purchases only through official channels. A fully functional website was created. The site mimicked real scam websites, luring players with the promise of free UC. Upon entering their BGMI ID, they were immediately informed that the entire setup was a scam designed to warn them against falling for actual fraudsters.

    Visit: https://tafreeuc.com/

    The results?

    Within hours, the campaign garnered over 2.5 lakh shares and more than 3 million views. Malayalees were thrilled by the unexpected reunion, while non-Malayalees were hooked by the clever execution. The video spread like wildfire.

    ●    3.6M+ views
    ●    182K+ likes
    ●    265K+ shares
    ●    4.2K+ comments
    ●    135K+ website clicks

    The viral nature of the campaign is a testament to how well the message resonated with players, turning an inside joke into a widely shared learning moment.

    Why it worked:

    The campaign stood out because of its mockumentary storytelling that helped in enhancing credibility and engagement. The multi-platform execution—using video, a fake website, and in-game hoardings—ensured that the message reached players through multiple touchpoints. Additionally, the cultural relevance of featuring a nostalgic Malayalam sitcom character deepened the connection with the audience, making the campaign not just informative but also deeply engaging.

    “April Fools’ has always been a great time to unveil inside jokes, and the community gets in on it. This year, we thought we should use the occasion for a little bit of education as well, so that our fans don’t click on untrustworthy sources to buy in-game currency. Looking at the 2L shares already, I’d say it’s been widely accepted and shared. We will look to create some more surprises for our fans as we go along!”  
    — Srinjoy Das, Associate Director of Marketing at Krafton

    By blending humor with awareness, BGMI continues to uphold its dedication to a safe and secure gaming environment to a safe and fair gaming environment, ensuring that players are informed and protected from fraudulent sources. This initiative is yet another example of how BGMI leverages cultural moments to engage with its audience while delivering important messages in an entertaining format.

    Campaign Credits:

    Client: Battlegrounds Mobile India (BGMI)
    Agency: Maitri Advertising Pvt. Ltd
    Managing Director: Raju Menon
    Chief Operating Officer: Jayakumar N
    Director Ideation: Venugopal R Nair
    Creative Directors: Francis Thomas & Vincent Vadakkan
    Chief Media Officer & Key Accounts Head: Sumit G
    Director, Digital and Overseas Business: Sumit Raj
    Head (Digital & Creatives): Ajay Sathyan
    Writer & Art Director: Muhammed Farhan
    Senior Editor: Anil Jacob
    Editor: Sharath Chandran
     

  • Kottappalli Prabhakaran 2.0: A BGMI ad film for the ages

    Kottappalli Prabhakaran 2.0: A BGMI ad film for the ages

    Mumbai: The popular online multiplayer game Battlegrounds Mobile India (BGMI), has released its first ad film in Malayalam, recreating the iconic “Pennukaanal” scene from the superhit movie Sandesham.

    Not only does the ad recreate the set and the shots exactly, but it goes one step ahead – the film was directed by Anoop Sathyan, son of Sandesham director Sathyan Anthikad while actor Dhyan Sreenivasan takes over the role of Kottappalli Prabhakaran, portrayed by his father, the legendary Malayalam film actor Sreenivasan, in the original film.

    Maitri Advertising, Kochi created this ad for Krafton, the company that owns BGMI. Maitri Advertising is also the only independent advertising agency to win the Grand Prix, the highest honour in the Indian advertising industry.

    The ad film has already achieved remarkable organic numbers, garnering over three million views and tens of thousands of comments across platforms. 
     

  • Maitri Advertising shines at Goafest 2024

    Maitri Advertising shines at Goafest 2024

    Mumbai: Maitri Advertising Works made history at Goafest 2024, India’s premier advertising award show, by becoming the first agency from Kerala to win the coveted Grand Prix. In addition to this top honour, Maitri earned a silver, a bronze, and three merit awards, solidifying its position as a leader in the South Indian advertising industry.

    The highlight of Maitri’s success was a five-minute promotional film for Netflix’s popular series “Sex Education,” featuring popular actress Shakeela. The film, which depicts a humorous yet informative scenario of a driving lesson that turns into a sex education class, stood out for its creative storytelling and tasteful approach. The campaign went viral, drawing significant media attention and acclaim.

    “Shakeela is often linked to soft porn films that distort the essence of sexual relationships. In our film, we sought to redefine this narrative by embracing a positive stance on sex education, even with Shakeela’s participation. With the boundless creativity of our young team and the unwavering support of Netflix, we achieved this vision,” remarked R. Venugopal, Ideation Director at Maitri.

    Francis Thomas, Group Creative Director, noted the transformative changes in the advertising landscape over recent years. “For the last couple of years, there have been revolutionary changes in the advertising field,” he said. He emphasized the shift from producing single-language ads and dubbing them into multiple languages to creating original content in five South Indian languages. “This is a recognition of the strong support from the market towards such content,” Thomas added.

    Chairman C. Muthu highlighted “Big companies starting from Muthoot Finance, Swiggy, Netflix, Disney+ Hotstar to Crafton Games have partnered with Maitri because of their expertise in the creative and tactical skills developed over the years,”. Managing Director Raju Menon celebrated this achievement, stating, “This is not just a win for Maitri but for the innovation and inclusivity in Indian advertising and the beginning of a new era in advertising.”

    With 28 years of experience, Maitri operates offices in Kochi, Trivandrum, Maldives, Seychelles, and Bangalore. Their extensive client list includes Mathrubhumi, Muthoot Finance, AVT, Kerala Tourism, myG, Lazza Icecreams, KLF Nirmal Industries, Brahmins (Wipro), Asianet, Swiggy, Amul, IM Galvanised Steel Pipes, Alappat Jewellery, Hyundai, Kerala Vision, KSIDC, KINFRA, Oushadhi, and Kottakkal.

    Maitri’s remarkable performance at Goafest 2024 is a milestone for the agency and a testament to the innovative and inclusive nature of the Indian advertising industry.

  • Onam delivers a little below market expectations; national advertisers go big on spending

    Onam delivers a little below market expectations; national advertisers go big on spending

    NEW DELHI: The merging of age-old agrarian myths and traditions with the commercial realities of today, the festival of Onam is a happy celebration for the Malayalis and businesses encashing their festivities. Historically, the festival acts as a hotbed of ad spends, consumer-friendly deals, the launch of new products, and flared up sales. It’s close proximity to the wedding season which also makes it a big opportunity for the advertising and the marketing industry to cash on. 

    However, for the past two years, the deadly floods washing the thin strip of land in the southwestern edge of India have also been drowning the great marketing fiesta it used to be. This year, while the rains were friendly, the ongoing Covid2019 crisis acted as a dampener to the celebrations.

    Albeit, if the insiders are to be believed, the festival has led the industry to raise its head a little above the sad water. Indiantelevision.com had extensively covered in a series of stories, and also in an exclusive one-day-long virtual conclave how Kerala ad market is pinning its hope on Onam to bring some respite to its dwindling cash reserves and the latest update is that it might have managed to achieve 50-70 per cent of what was expected out of it. 

    MPlan CEO Parag Masteh shares while the national advertisers went big on spends during Onam, local advertisers were very conscious of the spending and preferred staying away from making any big investments. This is also why the local agencies couldn’t soak in the benefits of the festival. However, it surely brought some respite from the lull of the previous months. “If I compare with the last month, our cash registers witnessed a hike of 15 per cent from the previous month,” he noted. 

    Nestle Milkmaid recently launched a campaign #SpreadSweetness around Onam. The brand rolled out a 30-second ad film with the cast of one “Vanambaadi”, a popular TV series of the region. The film showcases the famous mother-daughter duo discussing the excitement during the 10 days of Onam starting from Atham to Thiruvonam.  

    Nestle India director Vineet Singh said, “As part of the initiative, Nestlé Milkmaid is sharing 10,000+ bowls of payasam with the less privileged and we encourage people to do their own act of kindness, by pledging and sharing a bowl of Payasam with someone who needs it. We hope you will visit http://createsweetstories.in/ and spread joy and sweetness and create delightful experiences for the underprivileged.”  

    Another major FMCG player Marico also launched a digital campaign #ThankYouNurses honouring the unparalleled spirit of nurses across the country. The campaign salutes the brave warriors and provides a platform for all Indians celebrating Onam to come forward and express their gratitude for the nurses through their Pookalams, a popular floor decoration with flowers which is an integral part of Onam celebrations.

    Marico chief marketing officer Koshy George said, “As India continues its fight against the pandemic, we wanted to honour the nurturing spirit and tireless efforts of the nurses who have ensured millions of COVID survivors are with their families this festive season. Parachute Advansed Gold stands for care and nurturance and has a deeper connect with the consumer larger than just hair. With this heartwarming ode, Parachute Advansed Gold aims to not only salute them, but also encourages every individual to remember them and dedicate their pookalams to the unparalleled spirit of these warriors”  

    Amplifi EVP Chandra P Dobhal adds that for national advertisers, the purpose of advertising is not just sales but for a broader perspective of brand building as well. That’s why they continued advertising. “Smaller, local brands don’t have that big budgets. I won’t say that they weren’t advertising at all but they were conscious of where they were putting their money. Also, it seems they don't want to be the reason for the spread of covid2019 and don't want their shops to be crowded.”

    He also mentions that surprisingly there was an uptick in the ad spends by local advertisers at the end of July and the first week of August. However, they started pulling back mid-August. 

    As per the TAM Adex data published in reports, the print medium witnessed 280 per cent rise in ad volumes in July 2020 as opposed to April 2020 in Kerala market. Further, more than 180 categories, over 1,400 advertisers, the region saw an upsurge of advertisements as more than 1600 brands started to advertise on the print medium. Similarly, ad volumes on television in Kerala witnessed 102 per cent rise in the same period. With more than 160 categories, over 320 advertisers, and 540 brands advertising on television platforms, the market saw an upsurge of advertisements as top 10 advertisers contributed to almost 50 per cent of the ad volume share of advertising on Kerala TV channels.

    Maitri Advertising MD Raju Menon notes that one of the reasons for local advertisers staying away from the festival was the weekend lockdown that was mandated in the state. “Local advertisers felt they will not get any benefit from advertising if the consumers can’t reach their shops. There was no RoI they could see given the lockdown restrictions and also keeping in mind the safety concerns.” 

    Another reason that Menon mentions for local advertisers saving ad money is the positive consumer sentiment, “Many local players were also saying that we are getting consumers even without advertising, why should we spend money then?” 

    The expectation from Onam was that more categories will start advertising during the period, but that did not really happen.

    Masteh shares, “The categories that were active during the previous months were pretty much the ones who were advertising. Healthcare kept spending big, gold retail started spending, and some other categories like FMCG and white goods kept spending.”

    Menon adds, “Local retailers were conscious of their ad spends but white goods and FMCG were fairly active during the period. It is also because these were industries where consumers are actively spending.” 

    On the other hand, Fourth Dimension Media Solutions CEO Shankar B feels that while Onam might not have been able to help the market recover fully, it has certainly set the ball rolling. 

    Dobhal quips, “I am hoping that at the overall level the ad spends would be much closer to what it was last year. The best part is that schemes and discounts on products are being extended, especially keeping the limited footfalls in the market due to time restrictions for keeping the shops open. Hence it is expected that advertisers to support their channel partners will let their activities go in September too! The positive in all this is that advertisers will now spread their activity for a longer period rather than planning for a few dates or weeks before the main festival.”