In this Industry Spotlight with Creative First, Munjal Shroff, Co-Founder of Graphiti Multimedia Pvt. Ltd., joined Lohita Sujith, Sr. Director, Copyright & Digital Economy, Motion Picture Association, to discuss his journey in creating groundbreaking children’s content and reviving Indian cultural heritage through animation. Munjal is the visionary behind Krish, Trish and Balti Boy, an animated movie series that has introduced Indian folk art and stories to audiences worldwide. Released in 150 countries via Netflix, the series has revived over 15 art forms, exposing millions of children to India’s diverse cultural tapestry.

Reflecting on the series’ impact, Munjal highlights its origin as an art restoration project inspired by a pivotal moment with his daughter, underscoring the need to make traditional art forms engaging for the “YouTube generation.”

The conversation explored the growing opportunities for Indian animation in the global market, as exemplified by Munjal’s Netflix original *Deepa and Anoop*, produced with Mattel TV. The show, which blends Indian culture with universal storytelling, was launched in 27 languages, including multiple English variants, reflecting its global appeal.

Highlighting the increasing demand for high-quality Indian stories, Munjal stressed the importance of maintaining production excellence and tempering cultural authenticity to suit global tastes. Projects like *Bharat Hai Hum* and *Deepa and Anoop* demonstrate that Indian content, when crafted thoughtfully, can find universal resonance while preserving its unique identity.

Looking forward, Munjal sees significant opportunities in storytelling formats that celebrate India’s heritage, particularly in animation. He also acknowledges the transformative role of technology, including generative AI, in enhancing workflows and expanding possibilities for content creation in the AVGC sector.

On the skill development front, Munjal highlighted the establishment of the National Center of Excellence for Animation, Visual Effects, Gaming, Comics, and Extended Reality (IICT). After two decades of advocacy by FICCI, the institute is now a reality, with a temporary campus at Films Division and plans for a state-of-the-art facility at Film City on 10 acres of allocated land. The IICT aims to elevate the skilling ecosystem through advanced facilities such as virtual production setups, motion capture tools, and photogrammetry technology. Munjal shared that the institute will also train trainers from institutions across India, equipping them with cutting-edge knowledge to upgrade student education nationwide. The vision for IICT is to raise the bar for AVGC talent, ensuring that future creators are equipped with the tools, skills, and technology to compete on the global stage.

Munjal emphasized the importance of India’s global presence under the ‘Create in India’ initiative, an umbrella platform for showcasing Indian talent at international events such as GDC, MIPCOM, and MIPTV.

Discussing opportunities for creating original IP, Munjal highlighted the evolving market dynamics where producers now hold greater control over their content. With platforms increasingly open to shared rights and multi-platform releases, creators can retain ownership of their IP, ensuring its longevity and reach.

Munjal’s work and insights underscore the vast potential of Indian animation—as a platform for storytelling, a driver of cultural pride, and a showcase of technological innovation—to engage global audiences while staying rooted in its heritage. With institutions like IICT and initiatives like Create in India, the future of Indian AVGC content looks brighter than ever.