As content spending slows down in India due to budget cuts by broadcasters and OTT platforms, three leading players—Bodhitree Multimedia, Madlab Films, and Universe of Ideas—have come together to launch Madlab Alpha, a new content studio focused on bold and original storytelling.
Madlab Alpha has earmarked a Rs 250 crore investment to create high-concept, disruptive content for both cinema and premium streaming platforms. This investment will be spread over 24 to 28 months and will be used to produce a mix of films and series that break away from traditional formats.
The company aims to replicate the success of American independent film production and distribution companies A24 and Neon. "We want to replicate that model—consistently releasing disruptive, high-concept content with the potential to appeal internationally," said Mautik Tolia, MD, Bodhitree Multimedia.
The studio plans to focus on original stories in Hindi and regional languages such as Malayalam. It is also working on global projects aimed at international audiences. Additionally, it will use AI and emerging technologies to enhance storytelling and improve the viewing experience.
Madlab Alpha will distinguish itself from traditional production houses by owning its intellectual property. The studio also aims to distribute its content globally and maintain flexibility in how it allocates capital, enabling it to respond quickly to new opportunities.
Darshana Bhalla, Founder and CEO of D’Artist Talent Ventures and Universe of Ideas, said that in any industry, factors such as market size and the addressable audience are crucial for attracting serious investment.
"India's massive consumer ecosystem—spanning entertainment, sports, and digital content—offers tremendous potential, especially with its young demographic driving demand. As the industry reinvents itself, this large, engaged market presents a compelling opportunity. Getting our strategy right could attract not only domestic investors but also global partners who recognise India's unique demographic advantage and are eager to collaborate in this evolving landscape," she noted.
While some content firms are struggling to secure funding, the key lies in presenting logical business models to investors, said Tolia, adding that while market potential exists, investors remain selective.
"The real opportunity lies in innovative models that focus on fresh content and IP creation. Investors are still interested but cautious with their investments. They prefer mid-range investments (Rs 10–100 crore) with clear recovery paths and margin potential, rather than large-scale commitments. Capital is available—but only for forward-thinking, compelling propositions," he said.
Leading the creative vision of the content studio are Gaurav Shukla, creator and producer of Asur, and Director, Screenwriter, Producer Abhijeet Khuman, also known for Asur besides Singham Again (2024), and The Girl on the Train (2021).
Shukla said the current market slowdown signals a need to rethink content strategies, as audiences—exposed to global content over the past four to five years—are rejecting formulaic offerings. "Their evolving preferences call for disruptive and innovative storytelling. This shift supports the need to create original content that breaks away from convention," he added.
Khuman noted that modern audiences, particularly younger generations, have shorter attention spans and often scroll on their phones even in cinemas. This global challenge demands content that captivates without dilution—by increasing quality, intensity, and innovation.
"Look at Adolescence right now—it’s become a global phenomenon. You don't just watch it casually while scrolling through your phone; you're hooked because the quality and intensity are there. In our view, the driving forces for future trends will be innovation, intensity, and AI. These three elements will shape what comes next. As for a cultural shift, only time will tell," he said.
Khuman said that while Korean culture is gaining global popularity, India, with its vast population, is also poised to make a global cultural impact—as it's just a matter of time. "We're still waiting for our first global hit series or film. Every other country has delivered—Spain has delivered, France has delivered—almost everyone has. So where is India's breakout moment?"
Bhalla said India has exceptional creative talent among writers and directors, but the challenge lies in unlocking their full potential. "The issue isn’t the quality of talent, but the lack of structured ecosystems to support original ideas and turn them into market-ready content. By building platforms that connect creators with market needs and audience preferences, we can unleash this untapped potential," she said.
According to her, when talent is properly recognised and economically supported, it creates a virtuous cycle that benefits the entire industry. The solution lies in building professional frameworks that nurture and deploy India’s world-class creative minds.
Madlab Alpha has earmarked a Rs 250 crore investment to create high-concept, disruptive content for both cinema and premium streaming platforms. This investment will be spread over 24 to 28 months and will be used to produce a mix of films and series that break away from traditional formats.
The company aims to replicate the success of American independent film production and distribution companies A24 and Neon. "We want to replicate that model—consistently releasing disruptive, high-concept content with the potential to appeal internationally," said Mautik Tolia, MD, Bodhitree Multimedia.
The studio plans to focus on original stories in Hindi and regional languages such as Malayalam. It is also working on global projects aimed at international audiences. Additionally, it will use AI and emerging technologies to enhance storytelling and improve the viewing experience.
Madlab Alpha will distinguish itself from traditional production houses by owning its intellectual property. The studio also aims to distribute its content globally and maintain flexibility in how it allocates capital, enabling it to respond quickly to new opportunities.
Darshana Bhalla, Founder and CEO of D’Artist Talent Ventures and Universe of Ideas, said that in any industry, factors such as market size and the addressable audience are crucial for attracting serious investment.
"India's massive consumer ecosystem—spanning entertainment, sports, and digital content—offers tremendous potential, especially with its young demographic driving demand. As the industry reinvents itself, this large, engaged market presents a compelling opportunity. Getting our strategy right could attract not only domestic investors but also global partners who recognise India's unique demographic advantage and are eager to collaborate in this evolving landscape," she noted.
While some content firms are struggling to secure funding, the key lies in presenting logical business models to investors, said Tolia, adding that while market potential exists, investors remain selective.
"The real opportunity lies in innovative models that focus on fresh content and IP creation. Investors are still interested but cautious with their investments. They prefer mid-range investments (Rs 10–100 crore) with clear recovery paths and margin potential, rather than large-scale commitments. Capital is available—but only for forward-thinking, compelling propositions," he said.
Leading the creative vision of the content studio are Gaurav Shukla, creator and producer of Asur, and Director, Screenwriter, Producer Abhijeet Khuman, also known for Asur besides Singham Again (2024), and The Girl on the Train (2021).
Shukla said the current market slowdown signals a need to rethink content strategies, as audiences—exposed to global content over the past four to five years—are rejecting formulaic offerings. "Their evolving preferences call for disruptive and innovative storytelling. This shift supports the need to create original content that breaks away from convention," he added.
Khuman noted that modern audiences, particularly younger generations, have shorter attention spans and often scroll on their phones even in cinemas. This global challenge demands content that captivates without dilution—by increasing quality, intensity, and innovation.
"Look at Adolescence right now—it’s become a global phenomenon. You don't just watch it casually while scrolling through your phone; you're hooked because the quality and intensity are there. In our view, the driving forces for future trends will be innovation, intensity, and AI. These three elements will shape what comes next. As for a cultural shift, only time will tell," he said.
Khuman said that while Korean culture is gaining global popularity, India, with its vast population, is also poised to make a global cultural impact—as it's just a matter of time. "We're still waiting for our first global hit series or film. Every other country has delivered—Spain has delivered, France has delivered—almost everyone has. So where is India's breakout moment?"
Bhalla said India has exceptional creative talent among writers and directors, but the challenge lies in unlocking their full potential. "The issue isn’t the quality of talent, but the lack of structured ecosystems to support original ideas and turn them into market-ready content. By building platforms that connect creators with market needs and audience preferences, we can unleash this untapped potential," she said.
According to her, when talent is properly recognised and economically supported, it creates a virtuous cycle that benefits the entire industry. The solution lies in building professional frameworks that nurture and deploy India’s world-class creative minds.
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