Advertising has always been about making people feel something. A laugh in the middle of a busy day, a lump in the throat, a memory from childhood, a jingle you hum even years later or simply, a thought that stays with you long after the screen has changed back to your favourite series or movies. However, in 2026, the industry of creating those moments is evolving at an unprecedented pace.
Artificial intelligence has become one of the biggest conversations around creativity. Through 2026, it has been the starting point of every discussion. It has opened up new possibilities, changed the way ideas are visualised, and even begun making its presence felt in the advertising films audiences see every day, for mainstream brands too. But the excitement around using technology to create films faster and, potentially, cheaper has also brought with it a new set of challenges. There is a growing concern about the role of human jobs, where creativity fits into an increasingly automated world, and whether technology will eventually make everything look and feel the same.
And perhaps that is where ad film directors continue to matter.
At a time when the industry is negotiating the promise and anxiety of AI, these directors remind us that technology may help create an image, but it cannot replace the experiences, instincts, memories and emotions that a human being brings to a story. Behind the campaigns featured here, are professionals who have spent hours debating a frame, finding the right face, waiting for the perfect performance, improvising on set and fighting for the shot that could make all the difference.
Some are veterans, who have spent decades moving between agencies, production houses and the director’s chair. Others are relatively new to filmmaking, bringing with them fresh perspectives and a willingness to experiment. What connects them is their commitment to the craft. Compiling this list was no easy task. The IMPACT editorial team drew up a list of over 250 advertising films released between May 2025 and May 2026, while also calling for additional entries from production houses across the industry. After a thorough review, we narrowed the list down to 10 filmmakers whose work stood out for their storytelling, craft, originality and impact.
In this edition, IMPACT celebrates the ad film directors who defined the year in advertising. From emotionally charged narratives and culturally rooted ideas to laugh-out-loud comedies and visually arresting spectacles, these directors have crafted campaigns that shaped conversations and elevated brands. In the pages ahead, they sit back to talk about the making of some of the year’s finest ad films—sharing their inspirations, happy accidents, on-set challenges, collaborative triumphs and creative instincts that turned strong ideas into unforgettable pieces of communication between May 2025 and May 2026. Here’s IMPACT’s list of the 10 best ad film directors.
‘There Are Very Few Timeless Stories. This Was One of Them’
AMIT MISHR
Director, Absolute Productions
"The concept was originally conceived by the Ogilvy team. Juneston (Mathana), the ECD at Ogilvy, had reached out to me about the film, so we spoke about it. It was like a one paragraph concept note. The whole idea of the smile and Prateik Babbar relating it to Smita Patil—that soul was present in the concept. Then, over a period of time, we collectively sat down to figure out the voice of the film; what the tonality of it should be and things like that. We let it unfold in an organic manner.
There are very few timeless stories, and this was one of those rare ones you feel lucky to be part of—one that you get to tell the world. It was a special story, and I feel fortunate to have been there to tell it.
It began with a pitching and the Ogilvy team was keen on working with me, at least that’s how it seemed from my point of view. We elaborated on the core idea and exchanged our understanding of the visual language. Once I understood that documenting certain things was what they were looking at, we stuck to a natural way of approaching the film. The process was essentially one treatment note, followed by discussions with multiple teams across India, Asia, APAC and the global teams. Once everyone was aligned, we moved ahead. It was a collaborative process.
The shoot itself wasn’t about fun BTS moments because we were dealing with a very complicated story. But I can’t separate the shoot from the process of the entire project. Luckily, every individual involved, including Prateik, was extremely participative in bringing the story alive. We had two to three meetings where we spent a couple of hours talking about Smita-ji, with him sharing his personal experiences with us. Those conversations were key to the entire process—they formed the foundation for executing the idea as sincerely as possible.
What I really take away from this project is how sincere everybody was. It’s rare to meet individuals who you can be vulnerable with. This was one such project where everybody allowed themselves to be present. The space was safe enough to tell a sensitive story.
We also shared stories from our own childhoods. We were trying to understand what the differences would be, what a child—who has grown up without his mother— might be missing out on and what his experiences would have been. Sometimes, to get to the deeper parts of a person, you need to reveal yourself first. Luckily, as creatives, we were all willing to participate in that capacity as well.
The clients loved the film. They were in love with the idea right from the word go, and I was extremely surprised by how participative they were—in a good way. The detailing of the story went far beyond the edit table. The discussions were honest and open, especially around how the film would be received. There wasn’t really a director’s cut and a client’s cut. We made just one film.
This was one of my favourite projects not just because it was a timeless story, but also because how honest and sincere it was.”
IMPACT’S PICK
‘The Boy Who Learnt To Smile’
ABOUT AMIT MISHR
Amit Mishr, an ad filmmaker with Absolute Productions, is known for his cinematic storytelling across commercials, music videos and branded films. His work is rooted in authenticity, blending documentary realism with emotional depth and understated visuals. With a keen eye for human stories and collaborative filmmaking, Mishr has built a reputation for creating films that are intimate, honest and emotionally enduring.
BEST WORK
‘Ek Taara’ - Titan Eye+
#ShotOnOnePlus – One Plus
CAMPAIGNS I LOVE
‘The Steel of India’ – Jindal Steel
‘The Sweet Truth’ – Colgate
‘We Wanted Riders to Carry Not Just Prayers, But Safety.’
BALAKRISHNA GAJELLI
Executive Creative Director, Saatchi & Saatchi India
CHETAN KAPOOR
Senior Creative Director – Copy, Propagate India
"The Prayers for Safety campaign is one of those ideas that’s really close to our hearts because it genuinely stands for doing something good. While there was obviously a commercial objective with Hero MotoCorp and the launch of the X-Pulse 210, we wanted to create something that would make a real social impact. We didn’t want to make just another road safety campaign.
The insight came from culture. Prayer flags are almost ubiquitous across the Northeast and the Himalayan regions, where these biking journeys happen. Riders tie them to their handlebars because they consider them auspicious. We simply asked ourselves—what if these prayer flags could do more? That’s when we transformed them into first-aid kits by adding Velcro pouches carrying essential medical supplies. It solved two problems at once. Riders would automatically carry first aid with them without having to adopt a completely new behaviour. Instead of riding only with prayers, they would now ride with prayers and safety.
The campaign also complemented the launch of the Hero X-Pulse 210, a machine built for rugged terrains such as Leh-Ladakh and other challenging geographies. We felt that if Hero was encouraging riders to explore these adventures, the brand also had a responsibility to ensure those adventures were undertaken safely.
The shoot itself was an experience I’ll never forget. The remoteness of Ladakh was one of the biggest challenges—if anything went wrong, the nearest help could be anywhere between five and 50 kilometres away. Then there was the altitude. Normally, you’re advised to spend 24 hours acclimatising after landing, but we landed and in three hours, we’re shooting at Khardung La. We constantly carried portable oxygen cylinders because, for people coming from the plains, functioning at that altitude isn’t easy.
What stayed with me even more than the landscape was the kindness of the people. Physically, it was a challenging shoot, but mentally, we always felt looked after.
Casting was straightforward because we never wanted actors—we wanted real bikers. Alongside experienced riders, we brought in enthusiastic first- and second-time bikers, because they are often the ones who underestimate the importance of carrying first aid.
Hero MotoCorp was incredibly supportive throughout. From Ashish Midha, their CMO, to the entire brand team, everyone believed in the idea. They didn’t stop at distributing the flags in biker cafés and rental stores across Ladakh—they also made them available at Hero’s premium dealerships where the X-Pulse is sold. The response exceeded expectations. More than 10,000 prayer flag kits were picked up in a single riding season without any conventional advertising push. The response has even prompted discussions around a second season—perhaps the strongest validation any idea could receive.”
IMPACT’S PICK
‘Prayers for Safety’ - Hero MotoCorp
ABOUT BALAKRISHNA GAJELLI AND CHETAN KAPOOR
Balakrishna Gajelli, Executive Creative Director, Saatchi & Saatchi India and Chetan Kapoor, Senior Creative Director, Propagate India, bring together decades of experience in creating culturally resonant and purpose-led ideas. Their work spans brands and platforms, with campaigns that combine creativity with real-world relevance. From earlier digital initiatives such as Tata Capital’s Half Stories to Hero MotoCorp’s Prayers for Safety, the duo has consistently explored how a simple cultural insight can be transformed into meaningful brand action.
BEST WORK
‘Adventure Essentials’ – Hero X-Pulse
‘Clowns’ - Audi
CAMPAIGNS WE LOVE
‘Infinitely More’ - Visa
Influencer Campaign on Bas Kar Bassi
‘The Moment Everyone Saw the Scratch Film, We Knew We Had Something Special’
HARSHIK SURAIYA
Founder and Director, Studio Zuno
"I got the script sometime in June, 2024. It had the theme, ‘Tree to Treat’ and a broad direction, though it was quite different from what the film is today. It came from the agency, Drink Water Design. Prasad Patil, the creative director who runs the agency and is also a friend, sent it to me. As soon as I read it, I knew there was something there. We spoke about the direction they wanted to take, but I felt their expectations were slightly different from what was on the page. I asked him to give me some time to make something and get back to him.
I didn’t tell him exactly what I had in mind. I went back to the drawing board and made a scratch film, using CLF footage, still images and some AI-generated elements. I then spent around 20 days with my team editing and shaping the mood. Once the rough cut was ready, I sent it to Prasad—and that’s really how the film came into being.
I remember presenting the scratch film to the client, Srinivas Kamath, Raghunandan Kamath’s son, who now runs Naturals. He was blown away. Once the client and everyone else bought into the vision, we knew we had something special. The excitement only grew from there. Even on set, we felt we were making something special, but I didn’t expect the response it eventually received. When the Naturals film came out, old friends I hadn’t heard from in years started calling and messaging. It genuinely felt like the advertising industry was celebrating the film, and that was very special for me.
We had to work within a tight budget, so we chose to shoot the entire campaign in Kerala. The challenge was finding locations that didn’t look like Kerala. For instance, the shot of the Sardarji cutting guava was actually shot in Kerala, but we made it look like a North Indian, Punjab-like setting. We used different locations across the state to create multiple worlds. The only portion we shot in Mumbai involves the food shots, which we did in a studio with Nitin Tandon and his team. Sometimes, as directors, we get too involved and go wild with the camera. I wanted this film to be simple yet engaging, and my editor made sense of everything we shot.
One thing we decided very early on was that the film would not have actors. The beauty in this kind of project is everybody comes together to kind of give their ideas and contribute to it. We wanted real faces. Me and Vikas Vasudevan, the DOP, bonded deeply on the project and kept discussing how to find the right people. Eventually, we decided on street casting. Our casting team went out on the streets of Kerala, met people, sent us videos and photographs, and that’s how we found the faces we needed.
I have multiple favourite frames from the film, especially because every shot was meticulously thought through and pre-visualised. There’s this man sleeping on a giant pile of watermelons; women with their backs to the camera, flaunting flowers in their hair; the opening tree shot with a Rajasthani man and a boat; and the tribal women. Each of these moments carries a part of the film’s soul.”
IMPACT’S PICK
‘Tree to Treat - Natural’s’
ABOUT HARSHIK SURAIYA
Harshhik Suraiya, a filmmaker and founder at Studio Zuno, boasts two decades of experience spanning advertising and film direction. Having spent over 10 years on the agency side—at Ogilvy and McCann, he brings a sharp creative director’s instinct to storytelling. Over the past decade, he has channelled that instinct into crafting ad films rooted in visual wit and emotional detail. Around a strong visual, Suraiya is like a kid in a candy store.
BEST WORK
‘Beauty Tips by Reshma - Make Love Not Scars’
‘Date’ – Savlon Handwash
CAMPAIGNS I LOVE
‘Sleep Solves Everything’ – Sleepy Cat Mattresses
‘Tanishq Solitaires’ - Tanishq
‘I get paid to do something that I love every bit of’
HEMANT BHANDARI
Director and Co-Founder, Chrome Pictures
"The Surf Excel ad came quite suddenly into my life. To be honest, I had been thinking for a long time that I hadn’t worked with kids. I love working with children, but there was a phase when I was doing back-to-back commercials with them, and I reached a point where I thought, ‘I’m done. How many kid commercials will I make?’ Then one day, I was sitting and thinking that it had been such a long time since I had done one, and cut to three days later, this Surf Excel commercial landed in my lap.
I was very excited, especially because of the idea. It spoke about bringing people together. The basic idea was that while we all celebrate Holi in our comfort spaces, there are people watching from afar, wishing their lives could be like that. I could relate to that emotion because, even as a child, when I would see people celebrating Holi in clubs while passing by on my cycle or scooter, I would think, ‘One day, I will party like that.’
During the process, we made a lot of additions, especially during the PPM, when the main client herself edited the script. It took a beautiful shape because of the collaboration between everyone. The preparation happened in very little time because the film had to be released before Holi. Finding the right location was a big task for me because beautiful frames motivate me to create something beautiful. Luckily, our casting director found us a great location and an amazing bunch of kids. The first few hours were difficult because the kids simply wanted to enjoy the water. Some were scared, others reacted differently, but once we started playing Holi and brought them into our world, everything fell into place.
Continuity was a big challenge because they kept getting covered in colour, which meant eight or nine costume changes. Time was another. After the first two or three hours slipped away, I realised I woldn’t be able to finish the film in a day without compromising. I told my producer, Kush Malhotra, ‘I’m sorry, I can’t finish this film today.’ The location was only available on Sundays, but somehow the team worked its magic and got us another two hours the following day. Those two hours made all the difference.
Even then, I kept asking for more. I wanted rain, although it wasn’t planned. The team found a garden pipe, punched holes into Bisleri bottles and created ‘rain’ on the spot. Thanks to our DOP, Malay Prakash, and the entire crew, we achieved what I had imagined.
The biggest surprise came with the music. Everyone initially wanted something contemporary, but I wasn’t connecting with that direction. While randomly searching for folk Holi music, I found a song that instantly felt right. I said, ‘This is the song.’ We flew to Lucknow to record it with the singer, and that experience itself was inspiring. The music turned out well. The response was largely positive—Harshad (Rajadhyaksha), Kainaz (Karmakar), Chief Creative Officers, Ogilvy Mumbai—and the clients loved it, and in the end, they released the exact cut I had made.”
IMPACT’S PICK
‘Daag Achhe Hai’ - Holi
ABOUT HEMANT BHANDARI
Hemant Bhandari, co-founder and director at Chrome Pictures, is known for crafting emotionally resonant stories rooted in everyday life. Hailing from Delhi, and now based in Mumbai, Bhandari is the happiest when making films. Over the years, he has directed acclaimed campaigns for leading brands including Surf Excel, Google, Asian Paints, Tanishq, Pidilite and Amazon. His films are characterised by strong human insights, understated emotions and cinematic realism, making him one of advertising’s most respected storytellers.
BEST WORK
‘Iss Dil Ke Aage Sabki Haar Hai’ - Sunfeast Mom’s Magic
‘Love is in the Little Things’ – BlueStone
CAMPAIGNS I LOVE
‘New Neighbor’ – Cadbury
‘Shaadi ka Ghar’ – Dettol
‘This Film Came to Me Like A Christmas Gift’
INDRASISH MUKHERJEE
Writer, Director and Creative Director, Footloose Films
"The idea for the film came from the agency team—Suyash Barve, Projato Guha Thakurta and Tanishk Nabar from Manja. They’re three writers who almost function as one mind. I honestly don’t know who writes which bit, but I’ve collaborated with them many times and we’ve had some wonderful partnerships over the years. We just get each other, which makes the process easy. That chemistry is especially important when you’re working with humour and quirk. If the process isn’t fun, it’s hard to create something genuinely funny. These guys are lovely, and the idea was theirs.
The hook was Emotional Attyachar. The insight was simple: when your maid cancels on you, it feels like emotional atyachar. They took the iconic song and rewrote it brilliantly around that feeling. A big part of the process was recreating the voice and mood of the original as closely as possible. After that, we moved into production.
The scripts that come from this team are usually so solid that I rarely feel the need to tinker with them. That frees up my mind to entirely focus on visuals. They write in a way that leaves visual interpretation open-ended. They define the zone, but they leave enough room for me to play, which is something I enjoy. The discussions that follow are always hilarious. Some of the ideas that never make it into the final film are often just as funny, but perhaps not suitable for an ad.
I remember hearing this script just before Christmas. The first thing I told them was, ‘This is my Christmas present.’ As they narrated the idea of the two musicians from the ‘Emotional Atyachar’ music video suddenly appearing inside a messy house, images started forming in my head immediately. One visual came from a Red-Hot Chili Peppers music video, Dark Necessities, where the bassist is sitting in a sink playing his instrument. Somehow, that image connected with this script and everything flowed from there. I even took a screenshot during the call and sent it to the team. We all had a laugh and then started building the film around that visual.
The shoot itself was chaotic in the best possible way. We had a scene where people were meant to be stuck to the ceiling. Since we didn’t have enough prep time, we flipped the setup and recreated the ceiling on the floor. That led to some hilarious attempts at figuring out gravity. Things that were supposed to hang one way kept hanging another, and late at night, everyone was trying to solve problems that probably required an engineering degree.
The budget wasn’t really the challenge. We had enough to make the film we wanted. The bigger limitation was time and duration. When you’re using a song that iconic, you only have so much runtime. There were many additional jokes and scenarios I wanted to include, but eventually you have to choose your favourites and let the rest go.
Urban Company has been a wonderful collaborator. There’s a level of trust now where they allow us a lot of creative freedom.”
IMPACT’S PICK
‘Emotional Attyachar’ - Urban Company
ABOUT INDRASISH MUKHERJEE
Indrasish Mukherjee brings a rare blend of warmth, wit and cultural nuance to storytelling in advertising. A Bengali by birth and a Tamilian at heart, he is known for crafting films that find humour in everyday truths while remaining deeply human. As a director at Footloose Films, he has helmed memorable campaigns for brands such as Urban Company, Cleartrip, Swiggy, Zivame, Britannia, Cadbury and McDonald’s. Whether it’s quirky comedy or emotional storytelling, Mukherjee’s films are driven by sharp observation, impeccable timing and an instinctive understanding of people.
BEST WORK
‘Protein Ke Peeche Kya Hai’ – Whole Truth Protein
‘Filter To Pagal Hai’ – Urban Company
CAMPAIGNS I LOVE
‘Live. Love. Laugh. Foundation] series by Prakash Varma
‘The Idea Was So Earnest, I Had to Execute it Well’
NASAR HUSAMI
Director, Vanilla Films
"Editing is very important for a filmmaker, and of course, I was there through the edit. The DOP, Sahil Bharadwaj, is a good friend and a great cinematographer. The Fevicol Shoe Fix ad came from Ogilvy for Pidilite. Arun Ganesh, another good friend, discussed the idea with me. He works with Anurag Agnihotri, who was actually my former boss. I immediately liked the film because it was such an earnest idea. We spent a lot of time brainstorming how we should bring it to life, and I wanted the casting to stay true to that sincerity.
One of our biggest discussions was around Blinkit. We wanted the delivery guy to appear while the hero was running, fix his shoe on the spot, and let him continue without waiting. The lovers were meeting after a long time, and I wanted to recreate that beautiful ’90s era when everything was filled with love and longing. The casting had to reflect that too. For days, we couldn’t find someone who truly fit the idea. Then I found Sakshii Mokadam. She had that look from the Juhi Chawla, Madhuri Dixit era—the innocence and earnestness of falling in love. Dhiraj Totlani came in as the hero, and then we found the Blinkit guy who would become the catalyst, helping the two lovers meet. The humour had to be pitched just right.
The script was almost exactly what we shot. The only thing that evolved through brainstorming was how the Blinkit rider would enter the film. He had to appear out of nowhere with an instant solution, reinforcing Blinkit’s promise of quick delivery. The location became equally important. I didn’t want a regular park because it would dilute the nostalgic feeling. I wanted a beautiful hilltop where these two lovers could run towards each other. Eventually, we found the perfect golf course in Mulund, with the kind of atmosphere we needed.
Pidilite has always stood out for its quirky storytelling. Whether it’s Fevicol, Fevikwik or M-Seal, they’ve consistently backed bold ideas. The shoot itself had many memorable moments. I remember Sakshi’s saree, while she was running, just wouldn’t fly the way I had imagined. We brought in fans and struggled with the fact that we were shooting in an open location, but somehow, by God’s grace, everything fell into place. Another lovely addition happened spontaneously. After the Blinkit guy fixes Dheeraj’s shoe, he suddenly does a somersault before running towards his lover. Thankfully, he could pull it off, and we immediately kept it in the film. Those little unplanned moments often become the most memorable.
I want to specifically mention the supremely talented Karan Malhotra—the hard work, effort and time he spent with us in creating such a memorable track was commendable. And the multi-talented Hamsika Iyer; her voice transformed the film.
The director’s cut and the client’s cut were almost identical. They loved the film so much that it was screened in cinemas as well. Seeing your own work on the big screen is always special, but filmmaking is never an individual effort. Pidilite trusted us completely, appreciated the final film and gave us the freedom to make it the way we believed it should be.”
IMPACT’S PICK
‘Jodi Salamat Rahe’ - Fevicol Shoefix
ABOUT NASAR HUSAMI
Nasar Husami, a filmmaker with Vanilla Films, brings nearly two decades of advertising experience to the director’s chair. Formerly Executive Creative Director at Ogilvy, he spent close to 20 years crafting award-winning campaigns before transitioning to filmmaking. His unique blend of creative strategy and visual storytelling enables him to create emotionally engaging, insight-led films that resonate with audiences across advertising and branded content.
BEST WORK
‘Confusion’ – Oreo Toffee
‘Herd Mentality’ – Bandhan Mutual Fund
CAMPAIGNS I LOVE
‘F1’ – Navi
‘Anthology’ – Nilaya
‘Stories with heart will always have value’
NIVEDITA MAHESH
Independent Writer and Director
"In a world where we are consuming content all the time, stories with heart are always going to have value. If you add quirk to that, it just stands out more. That’s exactly how I felt when I read the script for the AJIO Mother’s Day ad that the agency brought to me. The insight that Mothership Production brought to the table was very strong because the relationship between mothers and slippers is more than a few centuries old. That was the first thing that connected with me about the AJIO ad. I was a troublesome kid who had been hit quite a few times growing up. The moment I read the script, I knew I wanted a bizarre set-up and treatment. So, we created a rage room of sorts, giving mothers a space to vent their frustration over receiving the same old Mother’s Day gifts. The main emotion was anger, and the rage room provided a space for mothers everywhere to come together and be mad at their children.
For that, my two main challenges were, obviously, time and, secondly, casting. I wanted faces with a lot of character and comic value, so that the humour would translate easily on screen. We scoured all parts of Bombay for the right people. Everything eventually worked out because not only did we manage to cast a wonderful actor like Shefali Shah, but we also managed to fly someone in from Assam within the short amount of time we had.
The shoot was comparatively smoother, although we had quite a lot of fun on set. Whenever we were on set, each of us would attempt to shoot the slippers. Shefali Shah was such a thorough professional. She came to the set prepared, delivered more than any director could ask for and allowed me to take as many variations as I wanted for a take. She gave me quite a few shots to pick and choose from during the edit.
Once the ad was made, I was so happy to see everyone’s reaction. Normally, directors have a tough time because their POVs can be different from the client’s, but my director’s cut and the client cut were almost the same. That is a very rare scenario, and I feel really lucky!”
Leaving Netflix to become an ad film director was a leap into the unknown, but I knew I wanted to tell stories from behind the camera. The journey has been exciting, challenging and constantly rewarding. As a woman, I have been lucky to work with teams that have been incredibly supportive and collaborative, where my voice and vision were respected. But I have also faced situations that were not always as amazing for women. Those experiences have shaped me as a filmmaker. And seeing the AJIO project become so popular was truly a dream-come-true moment, making the leap feel even more worthwhile.
There are other projects too, but this will always be special. Although, I see my mother soon throwing a chappal at me because I haven’t thought of a perfect gift for her.
IMPACT’S PICK
‘Chappal Academy’ - AJIO
ABOUT NIVEDITA MAHESH
Mumbai-based writer-director Nivedita Mahesh belongs to a new generation of filmmakers who move seamlessly between entertainment, branded storytelling and advertising. A former Netflix executive turned independent filmmaker, she brings a sharp understanding of audience behaviour and contemporary culture to every project she helms.Her work is distinguished by its emotional intelligence, comedic timing and ability to find universal truths in everyday moments. Whether directing digital films or large-scale campaigns, Nivedita approaches storytelling with a simple belief: stories with heart will always matter.
BEST WORK
AJIO Mother’s Day – ‘The Slipper Range’
Fashion and lifestyle campaign for JadeBlue and OutStation.
‘MCE Music Video’ which landed on Rolling Stone India’s list of Top Music Videos in 2024
CAMPAIGNS I LOVE
‘Emotional Atyachar’ for Urban Company Instant by Indrashish Mukherjee
‘The Moment Everyone Had Tears in Their Eyes, We Knew We Had a Good Film.’
PROSIT ROY
Director, Writer and Producer, The Unicorn Films
"It was an interesting journey because my producer, Abhishek Ghosh, along with OR Radhakrishnan, Sneh (Nihalani) and I, had been trying to collaborate for quite some time, but nothing was really working out. Then one day, they narrated this script to me and the moment I heard it, I realised this was something I had to do. Even though the narration happened over a Zoom call, the emotion translated so beautifully that it reached my heart. Once I came on board, I naturally brought my own perspective to it. I narrated my vision to Radha, Sneh and to our client, Sandeep Goel and thankfully, they loved what I had in mind. After that, everything fell into place. The budgets and teams were aligned. We reached out to the only person I could imagine in the lead role, Gajraj Rao. He immediately agreed.
We shot the entire film in Lucknow, travelling there twice—once for the recce and then for the shoot. One of my fondest memories is honestly the food. My team kept bringing incredible Lucknowi food throughout the schedule, so while we were shooting, we were constantly eating. It became one of the happiest parts of the experience.
Working with Gajraj-ji was simply wonderful. He’s such a calm, humble person. Even though he’s a director himself, he completely surrendered to the story. That level of trust and commitment was unbelievable. Radha and Sneh were equally wonderful collaborators, and our cinematographer, Shayo, brought some incredibly beautiful frames to the film. It truly became a collaborative effort.
Once we wrapped up the shoot, Abhishek edited the offline version. When we showed it to Sandeepji, he called a few people from the office to watch it together. Everybody had tears in their eyes. That’s when we knew we had a good film in our hands. Then, Tajdar Junaid came on board for the music. We’re really grateful because he doesn’t do too many advertisements, but he wanted to be a part of this one. The music he created was simply outstanding. Our sound designer, Anish John, also did a phenomenal job, while several actor friends, including Akash Mukhija, Priyanka and a few others from ‘Raakh’, lent their voices to different characters in the film.
The most incredible moment, however, was the day the film was released. I had no idea it would receive such love. Within half an hour of it going live, my phone wouldn’t stop buzzing. For the next two days, I had to recharge it four or five times because it was constantly vibrating with messages. People weren’t just appreciating the film; they were sharing their own stories, memories and even trauma. That emotional connection was incredibly special.
As for Gajraj-ji, every moment with him felt magical. Every take brought something new. I especially remember one wide shot where he was dancing. I felt we needed a small pause in the movement. In the very next take, he instinctively stopped for a second, caught his breath and then continued dancing. That tiny improvisation transformed the moment completely. We all looked at each other and knew magic had happened. Honestly, every frame with Gajraj Rao felt like that.”
IMPACT’S PICK
‘Band, Baaja Bitiya’ - Goel TMT
ABOUT PROSIT ROY
Prosit Roy is a filmmaker whose work spans advertising, feature films and long-form series, including Pari, Paatal Lok Season 1 and Raakh. His acclaimed commercials for brands such as Pampers, Amazon and Goel TMT reflect the same cinematic sensibility that defines his narrative work. Roy believes storytelling is most fulfilling when it evokes emotion and raises questions that stay with the audience. A meticulous visual craftsman, he is like a kid in a candy store whenever he discovers a beautifully composed frame.
BEST WORK
‘It Takes Two’ – Pampers
‘Kheer’ - Amazon
CAMPAIGNS I LOVE
‘Golden Minute’ - Johnson’s Baby
‘Tree to Treat’ - Natural’s
‘Certain Firsts End With Everything Coming Together’
SANTOSH PADHI
Founder, Into Creative
"It’s been exactly a year and two months since we started INTO Creative, and Chupps Footwear was our first brand. Last March, soon after we set up, Chupps came on board. It was a small brand, with just four-and-a-half years of experience in the industry, but the team believed it was time to take a leap. When the brand came on board, we were looking for a sharp differentiator. Chupps was then experimenting with biodegradable footwear, and I spoke to founder Yash Mukhi about launching it as soon as possible because I thought it was a wonderful idea.
In a world where millions of tonnes of footwear end up in landfills, here was a product that wouldn’t lie there for hundreds of years. Consumers are increasingly conscious of what they buy, so biodegradable footwear has the potential to stand out even against the biggest global brands. I believed in the product enough to become an investor in the company, which also gave me the creative freedom I needed.
The idea was simple and beautiful: the product lands on the soil and disintegrates, the way human beings are meant to. But we couldn’t let the campaign end with a 20- or 30-second film. Our aim was to create as much noise as possible around Chupps being India’s first 100% biodegradable footwear brand.
Budgets, however, did not allow us to go big. Even hiring directors was too expensive for the three films we had planned. So I called my friend Amol Jadhav, a photographer, and explained the concept. He went blank and responded only three days later, saying he was shocked because he had never been to a funeral. It took him some time to process the setting before he felt courageous enough to make the film with me.
His team did a fabulous job, making every part of the process easy. We shot the film in Satara with non-actors in September. It was almost good luck and God’s grace that it didn’t pour. Instead, the dark clouds gave the film a muted look we could never have created ourselves. We spent days walking around the town to find the right people for the film and never revealed the idea to them until the last moment. Some reacted positively, while some of the younger people found it innovative.
We wanted that mixed reaction online and offline. And the campaign did become a talking point. The client reaction, however, was mixed. Yash Mukhi was on board, but his team had doubts. I sat with them and explained the nuances, including why I was confident the film wouldn’t get into trouble. We had consciously avoided religious symbols, and I assured them that anything problematic could be edited. They also questioned the funeral setup, so I explained its purpose.
There is no joke in the film, yet it creates a dark, almost funny effect while landing the message about the footwear beautifully disintegrating into the soil. I’m sure they are happier now: sales have peaked since October and in the last quarter, and Chupps has expanded its biodegradable footwear portfolio.
And that’s how our first brand story ended with everything coming together.”
IMPACT’S PICK
‘Designing for Endings’ - Chupps Footwear
ABOUT SANTOSH PADHI
Santosh ‘Paddy’ Padhi doesn’t just create ads—he creates cultural landmarks. From co-founding Taproot and turning it into one of India’s most awarded creative agencies to shaping bold narratives, Paddy has spent over three decades proving that great advertising is all about being fearless. Now, as Founder, Chairman and CCO of Into Creative, he believes that small and compact is the way to go and with these brands, he will create the largest impact.
With 200+ international awards and iconic campaigns to his name, Paddy remains one of Indian advertising’s most influential creative forces.
BEST WORK
‘Pooja Didi’ – Facebook
‘Har Ek Friend Zaruri Hota Hai’ – Airtel
CAMPAIGNS I LOVE
‘Write The Future’ – Nike
‘When an Idea is Beautiful, People Come Together Just Because They Believe In It’
SHARAT KUMAR
Director, Crazy Few Films
"The Enable India film was an incredibly special project because it felt like a full-circle moment. Before entering advertising, one of the first films I made was ‘B for Braille’, about a visually impaired child and the importance of Braille literacy. So, when this script came to me, it immediately struck a personal chord. My wife runs White Print, India’s first lifestyle magazine in Braille, and through her work, I’ve had a close association with the visually impaired community. This project felt less like work and more like something we genuinely needed to do. The script was written by my dear friend, Arpan Bhattacharya. When he first discussed the idea, what stood out was its tone. From the very beginning, we were clear that this would not be a sympathy piece. Instead, we wanted to spotlight a community that society and marketers have often overlooked because of the misconception that they cannot engage with brands or experiences in the same way.
The truth is exactly the opposite: it is a large, active audience that simply requires us to think differently. That confidence, honesty and candour became the foundation of the film. Arpan had written a beautiful script, but we spent time refining the language and finding the right rhythm.
Casting was crucial. Eventually, we found Shashi ‘Samad’ and Virali Modi, two remarkable individuals who brought authenticity and confidence to the project. Since the film is essentially direct-to-camera, we focused on understanding their natural speech patterns.
One of the biggest challenges was the limited budget. But people came together because they believed in the idea.
What I’m most proud of is how seriously we took inclusion within our own process. If you’re making a film about accessibility, the filmmaking process itself must be accessible. For Shashi, who reads Braille, we worked with the National Association for the Blind to have the script printed in Braille rather than simply sending him an audio recording. Seeing the joy on his face as he ran his fingers across the pages reinforced why that decision mattered. He wasn’t simply memorising my voice; he was experiencing the script in the way he naturally reads and understands the world. With Virali, we ensured the location was accessible, arranging ramps, planning movement routes and creating spaces that allowed her complete independence. The shoot was filled with memorable moments. Shashi has an incredible sense of humour. One important learning was that inclusion doesn’t always mean overthinking language. Telling him, ‘Look here,’ felt completely natural.
Perhaps the most rewarding moment came when Enable India watched the film. There were virtually no changes between the director’s cut and final version. When the film was screened at a Purple Economy conference, the audience reaction was overwhelming.
The appreciation from Enable India remains one of the most meaningful rewards of my career. More than a film, it was a reminder that storytelling can sometimes make the world a little more inclusive.”
IMPACT’S PICK
‘Enable India X Purple Economy’ - Enable India
ABOUT SHARAT KUMAR
A director at Crazy Few Films for the past eight years, Sharat Kumar, brings a keen observer’s eye and a filmmaker’s instinct to every frame, turning fleeting human truths into compelling narratives. Armed with a strong foundation in filmmaking from York University, Toronto, and a body of work spanning brands like Groww, Tanishq, Raymond, Maruti Suzuki and Kohler, Kumar’s films are marked by warmth, authenticity and an effortless understanding of people.
BEST WORK
‘Ye Market Sabka Hai’ - Groww
‘Everybody Can’ - Tetley
CAMPAIGNS I LOVE
‘Choli ke peeche kya hai?’ - Whole Truth Protein
‘Sleep Solves Everything’ – SleepyCat Mattress
