Tag: Senthil Kumar

  • Maddys 2025 goes global, gets glossier

    Maddys 2025 goes global, gets glossier

    MUMBAI: The Advertising Club Madras is bringing the heat with the 43rd edition of Maddys, giving India’s longest-running advertising awards a slick new sheen – and a global passport. This year’s rebooted avatar doesn’t just honour great work, it redefines the very format with new categories, a heavyweight jury, a transparent scoring system, and an international welcome mat.

    Themed ‘AI vs AI – Awesome Ideas vs Awesome Ideas’, Maddys 2025 goes all in on the creative wars in a tech-saturated world – and the stakes are high.

    For starters, it’s going international. The awards will now invite entries from across borders, aligning themselves with global benchmarks. With 155 categories across six streams – Creative, Digital, Media, Design & Print Craft, Film & Audio Craft, and Regional Pride (Tamil) – this isn’t just a celebration, it’s a campaign for creative excellence.

    The 2025 edition also introduces Grand Prix honours, a one-day celebration that starts with breakfast and ends with a cocktail, and a robust, two-tiered judging system scored on Strategy & Insights, Originality & Creativity, and Execution & Impact – minus the fluff of performance metrics.

    The dream jury team includes:

    . Karthi Marshan, former Kotak CMO, and Senthil Kumar of VML India co-chairing Creative MADDYS

    .  Ajay Gupte of Wavemaker chairing Media

    .  Dr. Apurva Chamaria of Google helming Digital

    .  Filmmaking duo Gayatri & Pushkar chairing Film & Audio Craft

    .   Santosh Padhi of Into Creative on Design & Print Craft duty

    .   Chocka of OPN taking charge of Regional Pride Maddys

    Process czar Gokul Krishnamoorthy returns as honorary jury convenor and process auditor, ensuring the judging stays squeaky clean and crystal clear.

    Aside from bragging rights, agencies and clients can win titles across streams. Grand Prix winners bag 30 points, with Gold (15), Silver (7), Bronze (3), and Shortlists (1) rounding out the leaderboard — all contributing to the prestigious “Agency of the Year” and “Client of the Year” crowns across categories.

    From art directors to Tamil-language storytellers, from global digital campaigns to handcrafted print ideas — Maddys 2025 isn’t just turning up the volume, it’s tuning into the future. Ready, set, pitch.
     

  • Ad reels and recall: Senthil Kumar reveals what set the jury screens ablaze at Goafest 2025

    Ad reels and recall: Senthil Kumar reveals what set the jury screens ablaze at Goafest 2025

    MUMBAI: In a session that played out like a director’s cut of India’s most memorable commercials, VML India CCO Senthil Kumar took the Goafest 2025 audience inside the jury room for a deep dive into what makes an ad truly work. The verdict? If you’d willingly watch it again, it’s doing something right.

    Speaking under the session banner ‘What Ignited the Jury Room?’, Kumar opened with a simple litmus test: “The best ad films aren’t just one-watch wonders. A great film has repeat value”.

    Kumar walked attendees through a curated list of top-performing ad films that had not just caught the jury’s eye, but had also burned themselves into the audience’s collective memory.

    One of the top contenders was the Lahori Zeera commercial. “Every frame had the brand. That’s rare today”, Kumar said, noting how strong visual branding contributed to high recall.

    Another winner was the Veeba Desi Chinese spot, which cleverly flipped expectations. “Chinese characters behaving like Indians—it’s fresh, culturally playful, and paired with a sticky soundtrack. That’s what lands”, he said.

    He also tipped his hat to the Snickers ad directed by Rohit Shetty. While Kumar admitted it wasn’t a novel idea globally, its execution was unmistakably local and creatively bold. “’Grab a Snickers’ may not be new, but how you grab attention is”, he said.

    In the Dream11 campaign, Kumar praised its sharp scripting and cast synergy. “It’s not easy to pull off dialogue-led storytelling with both actors and cricketers, but this one had audiences asking, ‘Aapki team mein kaun hai?’ on loop”.

    He rounded off with the Adani campaign highlighting rural electrification. “’Pehle pankha aayega, phir bijli aayegi’ wasn’t just a line, it was a layered narrative of transformation”. Kumar added.

    Throughout the session, Kumar emphasised one consistent metric: resonance. “An idea may be clever, but if it doesn’t move you—or make you laugh, pause, or hum—it’s just noise”, he concluded.

    Goafest’s jury, he noted, rewarded ads that nailed both craft and clarity, but above all, evoked genuine emotion or reaction. In the scroll-and-skip era, Kumar reminded creatives that the real test of storytelling lies in its staying power.

  • CCOs are shepherds, not showmen, say ad veterans in spirited Goafest debate

    CCOs are shepherds, not showmen, say ad veterans in spirited Goafest debate

    MUMBAI: At Goafest 2025’s high-energy panel “WTF is Creative Leadership Now?”—powered by Sun NEO and Amar Ujala—the crowd wasn’t just fed insight, it was served a full-course debate. The motion on the table: “The chief creative officer (CCO) is no longer the heart of the creative agency”. What followed was part philosophy, part punchlines, and all-out passion.

    Moderated by Ohriginal founder Rohit Ohri, the session featured industry legends and present-day captains: Bobby Pawar, Sonal Dabral, Senthil Kumar (VML India), and Lulu Raghavan (Landor APAC). The format was unconventional—a structured debate—and emotions ran high as both sides made their case.

    Pawar, speaking for the motion, fired the opening salvo: “The CCO has become a generalist, not a specialist”. He lamented the erosion of focus, saying creatives today juggle too many hats—part spreadsheet warrior, part HR liaison, part plumber of broken processes. “The CCO is supposed to make people better, not just the work”.

    Dabral echoed the sentiment. “The role’s been marginalised”, he said. “Once upon a time, creative work brought in the revenue. Now, we’ve surrendered that ground to consultants and growth officers”.

    On the other side, Raghavan mounted a spirited defence. “The CCO is the custodian of the brand’s unified creative vision”, she said. “They’re culture magnets and client counsellors. Yes, the role has evolved, but that doesn’t mean it has weakened—it has amplified”.

    Kumar brought the flair, calling today’s CCO a “playing captain”, not a bench-bound boss. “They’re curators of talent and makers of movement. They must know when to step up and when to step back.”

    The debate heated up as rebuttals flew. Pawar quipped, “If the client only wants to speak to one person, why do they need the rest of us?” Raghavan countered, “Then make that person the one who inspires, not just manages”.

    What united both camps, despite the sparring, was a shared reverence for creativity’s core purpose. All agreed that CCOs must move beyond ego, protect originality, and build cultures that nurture bold thinking. In Ohri’s closing words, “It’s not about idea ownership anymore—it’s about creating open spaces where ideas can roam freely and return home safe”.

    The rapid-fire round that followed was peak Goafest theatre. The panelists defined today’s CCO in their own punchy terms: “instigator”, “playing captain”, “creative curator”, “versatile”. When asked to choose between a Cannes Lion or a lifetime client, most cheekily opted for both.

    As the session wrapped, the takeaway was clear: the CCO isn’t dead. They’re just shape-shifting—and perhaps learning to lead not from the podium, but from the pasture.

  • Abby Awards 2025 unveils power-packed jury chairs across key categories

    Abby Awards 2025 unveils power-packed jury chairs across key categories

    MUMBAI: The Ad Club has revealed the first set of jury chairs for The Abby Awards 2025 powered by One Show, ahead of the grand showcase at Goafest 2025, taking place on 21–23 May at Taj Cidade de Goa Heritage and Horizon.

    Stepping into key jury roles this year are four of the most dynamic minds in Indian advertising: Rajdeepak Das, Senthil Kumar, Chandni Shah, and Anupama Ramaswamy.

    Das to chair video film (under one minute) category

    Publicis Groupe south Asia and Leo Burnett south Asia chief creative officer & chairman, Das is known for redefining creativity with a human-first lens. His award-winning campaigns from Whisper’s ‘The Missing Chapter’ (Grand Prix, SDG – Cannes Lions 2022) to Pepsico Lays Smart Farms (Grand Prix, Spikes Asia 2024) underline his commitment to impactful innovation. At Leo Burnett, he launched Apollo 11, a futuristic division powered by mutant creatives including aerospace engineers and data scientists.

    Kumar to chair video film (over one minute) category

    VML India chief creative officer, dubbed a ‘Lion Hunter’ by The Economic Times, Kumar is one of the most decorated creative minds in the country. With 27 Cannes Lions, 24 D&AD Pencils, and numerous other global honours, his vision has fuelled campaigns for brands like Wipro, Hero Motors, Tata Steel, and The Times of India. His storytelling extends to award-winning short films and documentaries, including A Salaam To Kalam and Save Our Sentinels.

    Shah to chair mobile category

    FCB Kinnect founder & COO, from child model to digital powerhouse, Shah has consistently broken moulds. At 32, she co-founded one of India’s most impactful digital agencies with over 600 Kinnectors. She’s been honoured by Campaign Asia-Pacific, Impact’s 50 Most Influential Women, and Agency Reporter’s SHE Awards. Her jury experience and global award-winning campaigns (Cannes Lions, D&AD, Clio) make her a force to reckon with.

    Ramaswamy to chair diversity, equality & inclusion category

    Havas Worldwide joint MD & chief creative officer, With over 25 years in advertising, Ramaswamy is known for campaigns that resonate with both purpose and power. From launching Ikea in India to winning Gold at Cannes, Clio, LIA, and Spikes, she’s delivered some of India’s most memorable brand moments. Her impact-driven campaigns for Reckitt, Fortis, Suzuki, and Maruti continue to set benchmarks.

  • AET appoints Videvision Smart Tech as national distributor

    AET appoints Videvision Smart Tech as national distributor

    Mumbai: AET has appointed Videvision Smart Tech as its national distributor for LED display sales in India, impacting sectors such as broadcast, corporate, transportation, and advertising. This partnership aims to enhance AET’s distribution network and improve access to its LED display solutions nationwide.

    The collaboration will utilise Videvision Smart Tech’s distribution and supply chain expertise alongside AET’s LED display technology to provide effective solutions for businesses and consumers. This move is a key part of AET’s strategy to expand its market presence and drive innovation in the LED display industry.

    By leveraging Videvision’s distribution network, AET plans to increase visibility and product penetration in tier I and tier II cities, aiming to capture 25 per cent of the LED display market in these areas. AET also intends to extend its product reach to over 100 cities across India by the end of the fiscal year.

    Speaking on the strategic partnership,  AET India CEO Su Piow Ko said, “We are thrilled to partner with Videvision Smart Tech as our National distributor for India. This collaboration not only enhances our ability to serve the growing demand for LED display solutions but also reinforces our commitment to delivering cutting-edge technology to customers across the country. Together, we are confident that we will unlock new opportunities, strengthen our market presence, and continue setting industry standards in LED innovation.’’

    AET and Videvision Smart Tech will initially focus on capturing key markets in tier one and tier two cities across India, with plans to expand into neighboring countries. This partnership is projected to drive significant growth, with AET aiming to exceed ₹1,000 crores in sales by FY 2030 and targeting a 30 per cent year-on-year growth in LED display sales, driven by this partnership.

    Commenting on this partnership, Videvision Smart Tech vice president Senthil Kumar said, “This partnership with AET marks a new chapter for Videvision Smart Tech as we align our distribution expertise with AET’s innovative LED display technology. We are excited to contribute to AET’s vision of expanding its footprint across India, and we look forward to leveraging our strong distribution network to deliver exceptional value and service to customers in key markets. This collaboration is poised to drive significant growth and success for both organizations.”

    This partnership marks a significant step in AET’s commitment to strengthening its market presence in India and meeting the growing demand for LED display technology.

     

  • The Washout: Wunderman Thompson’s digital film for Tata Steel

    The Washout: Wunderman Thompson’s digital film for Tata Steel

    MUMBAI:  Wash your hands with sanitiser or soap and running water for 20 seconds. Unless you were living under a rock, this is an advisory the entire world is now familiar with. Driven by fear of Covid2019 and thanks to the scarcity of sanitisers, we are now washing hands more than ever. Several videos that have been doing the rounds have taught us how to do it the right way. From wetting hands with water and applying enough soap right down to rinsing hands thoroughly with running water and then drying hands – we have seen it all. We have intimate knowledge of the components of a perfect hand wash – interlaced fingers, palm to palm, rubbing rotationally with clasped fingers and so on and so forth.

    Among the various brands and companies that have been circulating videos on precautions in social media is Tata Steel. It has been actively combating Covid2019 since the lockdown began, issuing several advisories, including one on hand wash. Tata Steel and  Wunderman Thompson South Asia – creators of the advisories – were curious to know whether people are putting their knowledge of best hand wash practices to good use. Are they practising what they have picked up from countless hand wash videos? There was only one way to find out.

    “We conducted a social experiment. We asked people to send in videos of their hand wash regimen. What we discovered was surprising and shocking at the same time! We were pleasantly surprised to see that just about everyone was familiar with the correct way to wash hands. But the relief we felt at this discovery was short-lived as we chanced upon something that was quite alarming, to say the least. We found that everyone without exception kept their taps running while washing their hands. Which meant that for every 20 sec hand wash, each of these individuals was wasting several litres of water,” said the company release.

    Tata Steel has always been committed to a sustainable future. Its sustainability initiatives encompass the areas of biodiversity, renewable energy, water conservation, recycling and reduction of carbon footprint. On the occasion of Earth Week, the message of washing hands while saving water needed to be shared immediately. Who better than Tata Steel – a sustainability champion – to do the needful. And what better way to deliver the message than a film for digital media.

    “But how to get this done at this time? We approached a production house who strung together the videos from our social experiment combining it with footage that they shot, inserted the supers, scored the music and mixed it. And the film was good to go when most of the entire world was shut inside. The film begins with shots of people of different genders and age groups washing their hands. We find that each individual is doing it the right way. The camera then reveals each person had the tap on right through the 20 sec of hand wash. The film ends with the words ‘Don’t let one crisis give rise to another. Don’t keep the water running while you wash your hands,” stated the company.

    Senthil Kumar, chief creative officer, Wunderman Thompson, said: “The idea was to highlight the hidden problem which will only increase with every hand wash. If the tap remains open while we are washing our hands for 20 seconds or more, we end up wasting a lot of water. It is imperative to draw attention to this issue which can be easily overlooked because of the threat of Corona. The creative device of social experiment lends the film a certain candour and authenticity. And since Tata Steel has always stood up for sustainability for a better future, it punctuates this very important message that could otherwise be missed. While we build India’s biggest bridges we also care about the water under the bridge.”

    Arjun Mukherjee, ECD & VP, Wunderman Thompson, Kolkata said, “While we are following the guidelines and washing our hands frequently, we are precipitating another global crisis – water shortage. This can lead to a huge water scarcity in the near future. This timely film drives home the message that when we wash hands we should be careful not to waste water.”

    Vijay Jacob Parakkal, Senior VP & Managing Partner, Wunderman Thompson, said: “Wunderman Thompson, erstwhile JWT, has been associated with Tata Steel for several decades. We had created the iconic ‘We Also Make Steel’ campaign for Tata Steel and, more recently, the ‘We Also Make Tomorrow’ campaign. We are delighted to partner Tata Steel again on this extremely relevant film with an urgent message.”

    Credits:

    Client: Tata Steel

    Agency: Wunderman Thompson

    Project Head:

    Vijay Jacob Parakkal, Sr. VP & Managing Partner

    Creative Team:

    Senthil Kumar, Chief Creative Officer

    Arjun Mukherjee, ECD & VP

    Nuzhath Enayath, Copywriter

    Account Management:

    Nilanjan Sarkar, Client Services Director

    Production house: Little Lamb Films

    Executive Producer: Monalisa Mukherji

    Producer: Avishek Ghosh

    Director & Editor: Nobin Dutta

    Music: Mayukh-Mainak

  • Wunderman Thompson launches new campaign ‘shut out corona’ for Tata Pravesh

    Wunderman Thompson launches new campaign ‘shut out corona’ for Tata Pravesh

    MUMBAI: Wunderman Thompson South Asia has conceptualised a digital film for Tata Pravesh. The film demonstrates how India is united in its fight against novel coronavirus, shutting all its doors to signify that when an entire country shuts its doors, it has the power to shut out Corona.

    According to Tata Pravesh, the main challenge was to get this done at a time when the entire world was behind closed doors, production houses included. Crowdsourcing was the only solution. The film was made with Instagram and twitter posts by hundreds of Indians with the Tata Pravesh hashtag #DoorsOfIndia. These shots were combined with footage of closed doors sourced from the Wunderman Thompson team across six Indian cities.

    As PM Narendra Modi announced a nationwide lockdown on 24 March to curb the spread of the deadly novel coronavirus. Since then, the pleas of the PM and Chief Ministers across states, urging people to stay indoors, have been ignored by many. There appears to be a lack of awareness of the consequences of venturing out and this extends even to the more evolved. Incidents of violation of govt. guidelines continue to make the headlines and a large number of people have already been arrested.

    Individuals are not adhering to the one overarching guideline of staying indoors to stay safe, blissfully unaware of the consequences of coronavirus. With the deadly virus knocking on our doors, it was imperative to drive awareness of the simple fact that when you stay home you stay safe, India had to be reminded that you are safe indoors.

    The film brings lockdown alive through hundreds of closed and locked down #DoorsOfIndia. It begins with shots of doors closing followed by a montage of closed doors from various geographies covering the entire expanse of this vast nation. The fast-paced montage is choreographed to a ‘homemade’ soundscape that is evidence of how work from home can give birth to truly ingenious solutions.

    An entire Indian classical music rhythm pattern was created not by using traditional Indian percussion but by using live sounds of doors being shut and sounds of latches, hinges, stoppers, and locks, along with ambient street noises and dialogues. These sounds were sourced from across the country using #DoorsOfIndia.

    Tata Steel chief services and solutions business P Anand said, “Tata Pravesh has always endeavoured to open minds through evocative socially connected films. This relevantly timed film reminds people to stay behind closed doors, that being the best way to combat Corona.”

    Wunderman Thompson  CCO Senthil Kumar said, “The idea was to bring alive the fact that India has shut its doors on Corona. This simple idea was executed powerfully by featuring doors from various provinces which gives the film a pan India scale while indicating that the #DoorsOfIndia will remain closed till we #ShutOutCorona.”

    Wunderman Thompson Kolkata ECD and VP Arjun Mukherjee said, “It was important to tell people that all it takes to flatten the curve is to shut the door. The film uses doors of various shapes, sizes, age and lineage which reflect the diversity of this nation, all united in shutting out Corona.”

    Wunderman Thompson senior VP and managing partner Vijay Jacob Parakkal said, “The vast numbers who have closed their doors on corona is testimony to the exceptional resolve and fortitude that our country has always demonstrated in times of stress. We are delighted to partner Tata Pravesh on this film which shows what India can do if it puts its heart into it.”

  • Louis Philippe unveils Permapress collection with new brand campaign ‘Stay Uncrushed’

    Louis Philippe unveils Permapress collection with new brand campaign ‘Stay Uncrushed’

    MUMBAI: Louis Philippe, India’s leading premium menswear brand from Aditya Birla Fashion and Retail Ltd, unveils its cutting-edge innovative line of clothing for the contemporary man, the Permapress Collection. The line is a celebration of re-imagined, pioneering designs and is rooted in functionality, versatility and style. The brand has launched this collection with a comprehensive campaign ‘Stay Uncrushed’ that emphasises on resilience and determination of a true leader.

    The 45-seconds TVC presents a gripping narrative of a president who overcomes great perils with sheer grit and fortitude and ultimately emerges victorious. The campaign will debut in 74 cities across multiple mediums television, print, online and out of home. The film will be aired across digital channels, TV, over 1200 movie screens and will be supported through a diverse promotion strategy in the upcoming months.

    The action-packed TVC puts the spotlight on an astute leader’s feat as he embarks on a journey to save his nation from the clutches of a despot, destroying a military coup, restoring order and redeeming his country from descending into chaos. During his mission the president is sporting wrinkle resistant, spill proof attire with the iconic Upper-Crest motif emblazoned on his cuff. Throughout the journey his spirit similar to his choice of attire stays uncrushed.  

    Louis Philippe COO Farida Kaliyadan said, “Defining class, elegance, and status, Louis Philippe is a purveyor of fine clothing for the discerning gentleman. Louis Philippe was introduced in India in the year 1989 and almost three decades later, the brand logo – the “Crest” is prized even more for its craftsmanship and attention to detail. This film defines the ethos of the true craftsmanship and skill that brand resonates. Our new ‘Permapress’ collection promises comfort and perfection coupled with functionality and style.”

    The Permapress collection is a celebration of all that Louis Philippe stands for: design, craftsmanship, innovation, functionality and performance. With clean and refined aesthetics, the range of clothing comes with functionalities which would leave a lasting impression. Made from 100 per cent premium cotton, the wrinkle-free Permapress collection is crafted to be extremely lightweight. The collection has excellent water and oil repellant properties and is engineered for all day comfort.

    The campaign has been conceptualised and executed by creative agency Wunderman Thompson India.

    Speaking on the occasion writer and chief creative officer  Senthil Kumar, said, “The film has brought to life the functionality of the world’s finest wrinkle free collection – Permapress in the latest edition. While writing this film within the luxurious codes of the legendary Louis Philippe brand, we had to build the character of the president and armed him, literally with the ultimate functionality of the Permapress Collection. Wrinkle free, stain resistant and spill proof. We started the voyage with ‘A Day in the Life of the president and landed on the proposition: No matter what the day throws at you, Stay Uncrushed. During the mission his character and his Louis Philippe attire remain uncrushed in spite of a day filled with crushing, squeezing, stretching, crawling, climbing, carving his way back to where he belongs, as the head of the Uncrushable state. A story where both form and function work in tandem to elevate the character of the clothes and the narrative of the true leader, rising above the occasion, and all in a day’s work. We believe we have created a character that will elevate the brands narrative of ‘The Upper Crest’ going forward beyond advertising thus generating a wholesome content that our consumers will be eager to consume and co-create.”

    The Autumn Winter 2019 collection of Permapress features clean and minimal aesthetic in slimmer silhouettes and classic colors which elevates the fashion ability of the line in a timeless space. The key pieces from the collection features shirts constructed with high quality 2 ply cotton fabrics with patented finishing which make them highly performance driven, yet breathable. For suits and blazers premium poly/wool fabrics with stretch, add on flair and functionality along with a natural comfort for all weather. Exclusive features include utility pockets, added during the garment construction not only enhance the craftsmanship but also add to the dynamic lifestyle of a sophisticated contemporary man ready to take on the world.

  • Pepsi celebrates young generation and its SWAG

    Pepsi celebrates young generation and its SWAG

    MUMBAI: Carbonated soft drink manufacturer, Pepsi is celebrating the confidence of Indian youth in its latest campaign ‘Har Ghoont Mein Swag’. Created by Wunderman Thompson, the TVC celebrates the audacious spirit of the new generation.

    PepsiCo India director-marketing, hydration and cola Tarun Bhagat said about the campaign, “Pepsi is a brand which has always resonated with the voice of today’s generation. This summer Pepsi is acknowledging and celebrating a word that defines today’s millennials’ – SWAG. ‘Har Ghoont Mein Swag’ is all about living in the moment, seizing new, interesting opportunities and doing it all with swag. The new campaign is a progressive approach to truly reflect the self-belief of today’s generation.”

    Wunderman Thompson creative chief Senthil Kumar mentioned, “Pepsi has always been the cult brand that creates and curates culture for the young and the restless with every new campaign and the result has always been popular content that echoes the self-belief and celebrates the self-confidence of youth. This new generation is armed with self-belief and Swag, read as effortless cool, in every step of their individual and collective journeys. They don’t hesitate to stand up for what they believe in and stand out because they right the wrong themselves, not waiting for course correction from others. This ssummer, Pepsi celebrates this bubbling self-belief and sizzling Swag of India’s young with the campaign “Har Ghoont Mein Swag“. And when this spirit of self-belief leads to self-confident action, every drop rises to the occasion, creating an ocean of youthful Swag.”

  • J Walter Thompson creates #LostVotes campaign for Times of India

    J Walter Thompson creates #LostVotes campaign for Times of India

    MUMBAI: J Walter Thompson has conceptualised and created a nationwide campaign ‘Lost Votes’, which calls for policy and electoral reforms to bring in the vote of Indian migrants, for Times of India (TOI).

    Elaborating the idea behind the campaign, JWT mentioned in a statement that considering today’s India’s countless population is on the move for work or education, or marriage, the right to vote should also move along just like the mobile phone numbers, PAN and Aadhar details, and bank accounts. The basic concept is to turn these lost votes into votes that count because they can shape the destiny of our nation.

    Commenting on the campaign, TOI brand director Sanjeev Bhargava said, “We are the largest democracy in the world. But are we the most robust? To strengthen our democracy, it is important that the right to vote and the facility to vote both be made available to the entire voting population.”

    J Walter Thompson chief creative officer Senthil Kumar said, “The idea of the film is to evoke the voice of the lost vote. A voice that amplifies the angst and echoes the emotion of over 20 crore Indians losing their vote. To play the voice of the lost votes on loud speakers and yet feel the voice being drowned by the distance, lost in the middle class multitudes out there. Losing your right to vote is like that fading homing signal. It’s like missing the last train home and losing the hope of making a difference in your hometown from your distant work station. Mera haq kahin pe kho gaya.”

    J Walter Thompson national creative director Sambit Mohanty added, “When we started working on the ‘Lost Votes’ campaign, I knew the film had to be poignant and soul-stirring. It needed to capture that ineffable feeling of being a stranger in a strange land. One who has to deal with the pain of not just losing touch with his roots but also not mattering in the larger scheme of things, because he/she is unable to vote (despite having the right to.) Whether you’re a face in the crowd or the crowd itself, nobody is immune from this pain. The ‘Lost’ poster-frame is meant to be symbolic of this feeling of becoming insignificant.”