But what do you type when you have a problem and are not even sure where to start?

That is the more interesting question behind Google India’s new campaign, ‘Google Search – Samjhe. Samjhaaye. Raah dikhaye.‘

Developed in collaboration with McCann India and conceptualised and written by Prasoon Joshi, the campaign introduces AI Mode in Google Search through a situation that has very little to do with technology at first glance. Google’s official announcement provides more detail on how the feature works.

And that is exactly why the film works as a product story.

Karan Has a Café Dream. Telling His Father Is the Hard Part.

The film follows Karan, a young man preparing for competitive exams who has another ambition on his mind: opening his own café.

There is just one problem. He does not know how to tell his father.

Instead of beginning with a conventional product demonstration, the film starts with this very human uncertainty. Karan turns to AI Mode in Google Search and asks how he should approach the conversation and where he should begin.

That question then leads to another.

And another.

Soon, the conversation moves beyond how to tell his father and into the practical reality of the business. Karan begins thinking about what students around him might need, what his café could offer and where financing could come from.

The interesting bit is that the original question changes as Karan thinks things through.

That is the behaviour Google is really selling.

The Best Question Is Sometimes the One You Ask Next

Traditional Search is often associated with a specific query and a specific answer, a territory Google has explored creatively before in Google – Easy Questions Don’t Always Have Easy Answers.

The situation in this film is different.

Karan does not arrive with a neatly defined problem. He arrives with an idea, some uncertainty and a lot to figure out.

AI Mode gives him room to keep going, much like the conversational experience explored in Google Assistant and Artificial Intelligence

The conversation can become longer, more specific and more practical as his thinking develops. Instead of forcing him to know exactly what to search for, the interaction helps him explore the problem one step at a time.

That makes the technology easier to understand without having to explain the technology too much.

Google is essentially saying: you do not always need to know the right question before you start.

Google has explored the cultural side of search before, notably through The Most Searched, which turned real search behaviour into the centre of its creative idea.

From “What Should I Say?” to “How Would I Actually Do This?”

This is where the film finds its strongest creative progression.

Karan’s first concern is personal. How does he talk to his father?

But once that is addressed, a bigger set of questions appears. If he really wants to open a café, who would use it? What would they need? How could he finance it?

The film turns that progression into the product demonstration.

There is no dramatic AI reveal. No futuristic interface takes over the story. No long explanation of features.

Instead, the audience watches one question lead naturally to the next.

For a campaign about conversational AI, that is a smart way to make the interaction understandable.

It also sits within a broader evolution of technology-led campaigns on Campaigns of the World, where the technology works best when it becomes part of the experience rather than the entire story.

Google Doesn’t Make AI the Hero. Karan Does.

There is a temptation with AI advertising to spend too much time showing what the technology can do.

This film takes the opposite route.

AI Mode is almost a supporting character. Karan remains at the centre.

We understand why he is searching before we think about what the technology is doing. His ambition gives the feature a reason to exist.

That choice also keeps the film grounded. The campaign is not asking viewers to be impressed by AI. It is asking them to recognise a familiar feeling: having something you want to do, but not knowing how to turn the thought into a plan.

A Product Demonstration Disguised as an Everyday Conversation

The film’s biggest strength is the way it hides its product demonstration inside the story.

Karan’s conversation with AI Mode gradually reveals what the feature is designed to do. Longer questions, follow-ups and practical exploration are all demonstrated through his situation rather than listed as features.

That makes the film easier to watch and easier to understand.

It also gives the campaign a useful creative territory for the films that follow. The first story establishes the idea that Search can help when the problem itself is still taking shape. Future films can build on that territory with different moments where people need help thinking through what comes next.

The Real Idea Is Not AI. It Is What Happens After the Question.

For us at Campaigns of the World, the most interesting thing about this campaign is not the AI itself. It is the change in the role Google Search is trying to occupy.

Karan is not simply looking for information. He is trying to make a decision. The campaign therefore moves Search into a space that feels closer to thinking, planning and exploring.

That is a more interesting advertising proposition than simply saying, “Google Search is now powered by AI.”

The film also gets the tone right by keeping the technology relatively quiet. The human problem comes first, and the product earns its place in the story. Karan’s uncertainty gives AI Mode a genuine role rather than making the technology the star of the film.

The clever part is that Google does not try too hard to explain AI Mode. Instead, we watch someone use it to work through a problem. That makes the product feel useful rather than impressive for the sake of being impressive.

There is a bigger creative challenge ahead, though. This is the first film in a series, so the idea will become more interesting if the following stories find equally specific human situations rather than simply repeating the same AI Mode demonstration.

For now, the campaign has found a simple way to make a complicated product idea understandable: sometimes you are not searching for an answer. You are searching for your next step.

Credits
Brand: Google
Agency: McCann India
Conceptualised and Written By: Prasoon Joshi
Creative: Ashish Nath, Anshuman Singh, Dushyant Chopra, Sujan Sarkar
Business: Dheeraj Sinha, Kamal Basu, Tanisha Sharma, Siddharth Bhattacharya, Sankalp Srivastava, Saurabh Awana
Strategy: Sumeer Mathur
Films: Jitender Kalra, Sameer Relia
Production House: Chrome Pictures
Director: Amit Sharma

The story starts with a daughter pointing back to her mother

The film opens at a book launch. A mother is asked about the inspiration behind her collection of poems. Instead of taking the credit, she points towards her daughter.

The story then moves back to the daughter’s childhood.

As the daughter grows up, she begins to understand her mother’s life in a different way. She notices the compromises her mother makes within her marriage. She also hears the familiar advice given to women in difficult situations: adjust, endure and carry on.

But the daughter does not accept that as the only option.

She encourages her mother to think about what she wants for herself. That conversation eventually gives the mother the courage to rebuild her life on her own terms.

The film’s central thought captures the reversal neatly: “Maa ki Majboori nahi, Beti Hoti hai Maa ki Mazbooti.”

The strength comes back

Most mother-daughter advertising follows a familiar path. The mother raises her daughter to be confident, independent and capable of handling life.

Clinic Plus keeps that foundation but changes the direction of the relationship.

The daughter has grown up absorbing the lessons her mother gave her. When the mother needs those same qualities herself, the daughter becomes the one who brings them back into the relationship.

It is a small but important shift. The daughter is not simply someone being protected or prepared for the future. She has become someone who can recognise what her mother needs and stand beside her.

That makes the mother-daughter relationship feel more reciprocal.

The book launch changes meaning by the end

The opening scene is also a useful storytelling choice.

When the mother points towards her daughter at the book launch, it initially feels like a simple gesture of affection. Once the film reveals what happened between them, the moment means something more.

The daughter did not simply witness her mother’s journey. She became part of the reason her mother found the confidence to make a change.

The book therefore becomes a quiet marker of the mother’s new chapter, while the daughter remains closely connected to that journey.

A different role for the daughter

The campaign works because it does not try to make the daughter a conventional hero.

There is no grand gesture. She simply sees something that the people around her have stopped questioning. When everyone else tells her mother to adjust, she asks her to consider another possibility.

That makes the film’s idea easy to understand without spelling it out.

Clinic Plus is extending the #MeriBetiStrong platform, but the emotional focus has shifted. Earlier stories centred on mothers giving daughters the confidence to face the world. This film asks us to look at what those lessons can mean years later, when the daughter has the chance to give some of that strength back.

The film also dedicates the story to single mothers in India, with HUL citing a figure of 1.3 crore in its campaign communication.

For Daughters’ Day, it is a different way of looking at the relationship. The mother raises the daughter to be strong. Then, at some point, the daughter becomes strong enough to help her mother find her own way forward.

Credits
Brand: Clinic Plus
Agency: Ogilvy

The film starts with a disagreement that changes the relationship between a brother and sister. The sister chooses to marry for love, while her brother struggles with the decision. What begins as a difference in perspective gradually becomes a longer silence between them.

That tension gives Delhivery Bridge the Distance a stronger emotional premise than a conventional festive film. The campaign is not simply about celebrating a sibling bond. It is about what happens when that bond is tested, and how difficult it can be to make the first move towards repairing it.

A Different Kind of Distance

The central idea behind Delhivery Bridge the Distance is the distinction between physical and emotional distance.

Siblings can live in different cities or countries because of work, marriage or changing circumstances. But the campaign also points to another kind of separation. People can remain geographically close while becoming emotionally distant because of disagreements, changing priorities or unresolved feelings.

That is where the brand’s logistics role fits naturally into the story.

Delhivery is in the business of moving things across distances. The film extends that functional role into an emotional context, showing how a package can carry something that cannot be measured by weight or size.

A rakhi sent to a sibling can carry memories, affection and an attempt to reconnect.

The Rakhi as a Gesture

The campaign’s most effective creative choice is keeping the act of reconnection simple.

There is no elaborate intervention to repair the relationship. The rakhi becomes an opening. It represents the possibility of starting again without requiring every disagreement to be resolved first.

That makes the film relevant to the emotional reality of family relationships. Reconciliation is rarely a single dramatic moment. Sometimes it starts with a message, a call, a gift or a small gesture that says the relationship still matters.

For a logistics brand, this also creates a credible connection between the product category and the occasion. Delhivery does not need to dominate the story with delivery mechanics. The act of sending something is enough to establish its role.

From Delivery to Connection

Delhivery Bridge the Distance works because the brand proposition remains visible without becoming the subject of the film.

A package travels from one person to another. The emotional reason for sending it is what gives that journey meaning.

This approach gives Delhivery a wider role during Raksha Bandhan. The brand is not only facilitating the movement of gifts and essentials. It is presenting delivery as one way people maintain relationships when they cannot be physically present.

The idea also fits Delhivery’s wider cultural storytelling. Its recent Corners of Courage campaign used its logistics network and India’s geography to bring lesser-known stories of the freedom struggle into focus. Bridge the Distance shifts the focus from physical places to personal relationships, while retaining the broader territory of connection.

Why the Film Fits Raksha Bandhan

The campaign benefits from a cultural occasion that already has strong emotional meaning.

Raksha Bandhan gives the story an immediate reason for the siblings to reconsider their relationship. More importantly, it gives Delhivery a believable role in that moment.

The film does not suggest that distance automatically disappears during a festival. Instead, it presents the festival as an opportunity to take action.

That distinction makes the campaign feel more grounded. The message is not simply that siblings should stay close. It is that even after relationships become complicated, someone still has to take the first step.

Delhivery Bridge the Distance brings that thought back to the brand’s everyday function. Something travels across the country, but what reaches the other side can mean much more than the object itself.

A Story Told Through Symbols

The campaign draws inspiration from the eye as a recurring symbol across cultures. References to protective talismans, mythology and Indian folklore appear throughout the film, creating an atmosphere that feels both familiar and unsettling. Rather than presenting these symbols as decorative motifs, STARE places them at the centre of its visual language, giving them a contemporary interpretation through jewellery and costume design.

This approach shifts attention away from conventional product-focused storytelling. The jewellery is integrated into the narrative, allowing each piece to support the mood, character and symbolism instead of functioning solely as an object of display.

A Cinematic Take on Jewellery Advertising

Directed by Bijoy Shetty, STARE unfolds with the pacing of a short film. Carefully composed frames, restrained dialogue and atmospheric lighting build tension throughout, while movement and performance carry much of the story.

The film borrows visual cues commonly associated with folk horror, creating an environment where ritual, mystery and tradition exist alongside contemporary fashion. Rather than relying on shock or spectacle, it builds unease through imagery, music and rhythm, giving the campaign an identity that stands apart from more familiar luxury advertising.

Jewellery as Part of the Narrative

One of STARE’s strongest creative choices is the way jewellery is woven into the storytelling. Instead of isolated close-ups designed to showcase craftsmanship, the pieces appear as extensions of the characters themselves.

The collection explores themes of visibility, protection and the social gaze through sculptural forms inspired by mythology, ritual and protective symbolism. This gives the jewellery narrative weight while maintaining its role as the central product.

Craft Across Every Frame

The campaign brings together performances from Karthika Nair, Tillotama Shome, Niniraanjhana, Fight Master Kaali, Mary Thampurattii, Konkonaa Halder, Isha Singh, Gauri Lakshmy, Vidya Vijayakumar and Gauthami Jeji.

Abhinay Kumar’s cinematography complements the film’s visual direction with textured compositions and carefully controlled lighting. The edit by Meran maintains a deliberate pace, while Parimal Shais’ score and Rudy Mukta’s vocals reinforce the film’s haunting atmosphere. Together, the creative disciplines work in service of the narrative instead of competing for attention.

Why STARE Stands Out

Many jewellery campaigns celebrate craftsmanship, heritage or occasion-based gifting. STARE expands that conversation by exploring how jewellery can communicate emotion, memory and cultural symbolism through cinema.

Its strength lies in resisting familiar advertising conventions. The film does not rush to explain itself or rely on dialogue to communicate its ideas. Instead, it trusts visual storytelling, performance and atmosphere to shape the viewer’s interpretation.

By combining fashion, folklore and cinematic direction, Bhavya Ramesh Jewelry and NorBlack NorWhite present a campaign that demonstrates how branded storytelling can move beyond traditional commercial formats while keeping the product closely connected to the narrative.

Credits
Cast – Karthika Nair | Tillotama Shome | Niniraanjhana | Fight Master Kaali | Mary Thampurattii | Konkonaa Halder | Isha Singh | Gauri Lakshmy | Vidya Vijayakumar | Gauthami Jeji
Directed by Bijoy Shetty
Edited by Meran
Shot by Abhinay Kumar
Music by Parimal Shais
Mix by Akash Shravan
Vocals by Rudy Mukta
Production – Brown Crew Productions
Producers – Wazim Hyder | Anamay Prakash
Production Manager – Vishnu Bhaskar I Sangeeth
Executive Producer – Vivek Vinoj
Production Executive – Jenson Thaadikaran I Pranav Prakash
Styling – NBNW | Shweta Betty | Sandra Resmi
HMUA – RG Wayanadan
Casting Director – Sanjay
Production Designer – Kripesh Ayyappankutty
Casting Associates – Pournami Nair | Joshuaa Julius I Anjana
Sound Design – Sukrit Sen
Colorist – Yash Soni
VFX – Mad House Studios
3D Animation – Aabhijit Vinayak
Titles – Utkarsh Pathak
Associate Editor – Avin Poly
Direction Team – Haritha Ranatunga | Nikhita Prathap | Kartik Thanuja | Nirupama Thomas | Niket Shetty
Cinematography Team – Nanda Kishore | Alen Jose
Art associate – Fragin | Anuraj
Art assistants – Aneesh | Sineesh | Rashid
Accountant – Shifananana
Camera – Candid
Lights – SJ Light Unit

This campaign is about:
Bhavya Ramesh Jewelry, STARE, NorBlack NorWhite, Bijoy Shetty, Jewellery Campaign, Film Campaign, Indian Advertising, Brand Film, Fashion Film, Folk Horror, Creative Storytelling, Luxury Jewellery, Visual Storytelling, Campaign Analysis, Cultural Symbolism, Advertising Film.

At its core, the initiative serves as a tribute to the countless moments the brand has shared with its customers over three decades. The central theme focuses on a simple truth: visiting the restaurant is less about the specific occasion and more about the genuine feeling of being together.

Redefining the Indian Family Dynamics

The campaign, conceptualized by McCann India 4, deliberately expands the traditional definition of family. Instead of limiting the concept to biological relationships, the creative strategy embraces the diverse social circles that define modern India. This includes friends, colleagues, communities, and chosen circles—essentially anyone who brings a sense of warmth and belonging.

A major highlight of the campaign is a vibrant brand anthem written by the renowned writer and lyricist Prasoon Joshi, Chairman of Omnicom Advertising India. The lyrics lean into culturally rooted, everyday interactions to show how ordinary meet-ups turn into meaningful connections. The narrative spans multiple generations, connecting people who grew up with the brand while welcoming a newer audience to create their own memories.

Capturing Real, Lived Experiences

The execution of the campaign draws heavily from a tapestry of relatable Indian scenarios. It positions the restaurants not just as dining destinations for planned outings, but as casual, everyday social spaces where people connect without formality.

The storytelling highlights familiar moments that resonate with the Indian consumer base, such as:

• Sharing a truly Indian McAloo Tikki after school hours.
• Late-night drives that end at a drive-thru window.
• Post-exam celebrations and nervous first dates.
• Bustling birthday parties and quick office lunch runs.

Leadership Perspectives on the Initiative

The leadership team behind the campaign emphasizes the importance of inclusivity and evolving cultural values in India.

Akshay Jatia, CEO of Westlife Foodworld, noted that the brand has grown alongside the country for 30 years. He explained that the campaign celebrates a more inclusive definition of family, reflecting how modern India comes together, while ensuring the brand remains a place where everyone feels they belong.

Prasoon Joshi shared insights into the nuance of Indian relationships, stating that family extends to the people who stand by us, share laughs, and accept us as we are. He noted that over three decades, the restaurant has naturally become a space where these bonds come alive.

Rahul Mathew, Chief Creative Officer at McCann India, added that while the brand has always hosted families, the definition of a family has shifted. He emphasized the desire to celebrate all types of families—including those built on shared passions or roles in our lives—and invite them to share space together.

Strategic Rollout and Execution

The campaign is built on a digital-first amplification strategy. Audiences will experience the narrative across digital platforms as well as through dedicated in-store experiences.

As the brand approaches its thirty-year mark in the country, the creative direction sets a clear tone for its next chapter. It builds on a long-standing legacy while staying closely aligned with how people live, interact, and build communities today.

Our Take on the Campaign

At Campaigns of the World, we appreciate work that taps into genuine human behavior rather than manufactured sentiment. This campaign succeeds because it mirrors a shift in how society views relationships. By moving away from rigid, traditional family tropes and acknowledging chosen families, like coworkers and friend groups, the brand stays modern without losing its nostalgia. This marks a sharp evolution from their functional McDonald’s print campaign work focused entirely on policy shifts.

The decision to anchor the creative work on a culturally rooted anthem by Prasoon Joshi grounds the strategy in authenticity. It highlights real, unpretentious moments that everyday consumers recognize, making the communication feel earned rather than forced.

Credits
Agency: McCann India
Campaign: Let’s Family at McD
Team: McCann India 4 – Prasoon Joshi, Aditya Kanthy, Rahul Mathew, Siddhesh Khatavkar, Harshada Menon
Sourabh Dubey, Ankit Pathak, Maruthi S, Ashwini Mishra, Senorika Rajeev, SoumyadeepPurkayashta, Fatema Morbiwala, Omkar Bambaras, Akshay Jadhav, Akash Patel, Bibian Stani, Gaurav Mhatre, Thevar Subbiah, Kaustubh Lunge, Monideepa Nandi, Sonia Kumar, Barkha Bisht, Suyash Pandey, Shweta Goyal, Shashank Lanjekar, Ashna Shah, Roshni Punjabi, Aayush Singh, Jay Gaikwad, Varchas Sinha, Tanushree Kagal
Production House: Oink Production, Shirsha Thakurta, Ramya Rao
Music: Prasoon Joshi & Vishal Khurana K

This campaign is about:
McDonald’s India, Westlife Foodworld, McCann India, Prasoon Joshi, Brand Campaign, Indian Advertising, Marketing Campaign, Food Marketing, Let’s Family at McD.

The campaign was based on a simple but uncomfortable fact. In the previous Indian General Elections, around 33% of eligible voters did not vote, according to the campaign entry listed by The One Club for Creativity. The reasons included laziness, lack of awareness and political alienation. The campaign linked that absence to 7,500 litres of unused electoral ink, the purple ink used to mark voters’ fingers and prevent duplicate voting.
 

 

 

A print campaign built around a national symbol

The Times of India and The Economic Times printed pages in purple ink instead of the usual black. For every 132 absent voters, one page was printed. The campaign reached 2.28 million prints with one direct appeal: “Don’t waste a drop of electoral ink. Don’t waste the power of democracy.”

The idea worked because the colour already had meaning. In India, the purple ink mark is widely understood as proof of voting. By putting that colour onto a newspaper page before voting day, the campaign changed its role. It was no longer a mark of participation. It became a reminder of what gets wasted when people stay away.

The execution was released across Delhi, Mumbai, Bengaluru and Kolkata, just before those cities were scheduled to vote. That timing mattered. The campaign was not trying to create general awareness over a long period. It was designed to reach people close to the moment of decision.

Why Ink of Democracy campaign feels effective

Ink of Democracy campaign is a strong print idea because it does not over-explain itself. The campaign uses the medium as the message. Purple ink was not an aesthetic choice. It carried the entire argument.

The audience choice also made sense. The campaign entry notes that urban voter turnout had lagged behind rural turnout, making an English newspaper a relevant medium for the appeal. For readers in major metros, the message landed in a familiar daily format, but with one unusual visual change.

There is a restraint to the work that helps it. It does not shout at voters. It does not rely on a celebrity face or a heavy emotional script. It uses absence as the starting point, then turns that absence into something visible.
 

 

A smart use of waste as a creative trigger

Voter apathy is usually discussed through numbers. Percentages can feel distant. Ink of Democracy gave the issue a physical form.

The thought behind the campaign is clear: electoral ink exists only when citizens vote. If people do not turn up, that ink remains unused. By printing pages in purple, the campaign created a visual connection between wasted ink and wasted democratic power.

That makes the campaign more than a topical election message. It becomes a piece of civic communication built from a material associated with voting itself.

The line “Don’t waste a drop of electoral ink” is also doing useful work. It keeps the campaign grounded. It does not make a grand claim about changing democracy. It simply reminds people that participation is the point.

Recognition and reported impact

Ink of Democracy received notable industry recognition. Branding in Asia reported that Havas Creative India won India’s first Gold Lion at Cannes Lions 2025 for the campaign, created in partnership with The Times of India. The same report notes that the campaign won in the Print & Publishing category and centred on the symbolic power of electoral ink.

The One Show lists Ink of Democracy as a 2025 Direct Marketing winner in the Print category, with Havas Creative India, Bennett Coleman & Co Ltd, Mr Pink Music and Galloping Horse Production Pvt Ltd credited on the campaign. The One Show entry also reports 2.28 million prints, 642 million voters in India’s 2024 election and a 280% increase in brand mentions across social media with high positive sentiment.

Those reported results should be read carefully. Voter turnout depends on many political, social and logistical factors. The campaign’s strongest achievement is creative and editorial: it found a way to make not voting visible, using a medium and a symbol people already understood.

Credits
Brand: The Times of India
Campaign Name: Ink of Democracy
Agency: Havas Creative India
Client / Brand: Bennett Coleman & Co Ltd
Production Company: Galloping Horse Production Pvt Ltd
Music / Sound Production Company: Mr Pink Music
Chief Creative Officer: Anupama Ramaswamy & Joji Jacob
Creative Director: Soham Ghosh, Ravinder Kumar, Marcelo Bruzessi & Neha Sidhra
Director: Sophie Lacheze & Annie Joshi
Executive Creative Director: Joao Medeiros & Nazly Kasim
Global Chief Creative Officer: Stephane Xiberras
Photographer: Harmeet Singh Sana

This campaign is about:
Ink of Democracy campaign, The Times of India print campaign, Havas Creative India campaign, Indian election print campaign, electoral ink campaign, newspaper advertising campaign, voter awareness print ad, democracy campaign India, Cannes Lions print campaign, award-winning print ad, creative newspaper ad, social impact print campaign, Creative Print Ad, Creative Print Ads, Print Advertising, Print Campaign, Election Campaign, Voter Awareness Campaign, Democracy Campaign, Electoral Ink, Purple Ink Campaign, Indian Advertising, The Times of India, Havas Creative India, Ink of Democracy, One Show Winner.

Kyunke, Zindagi mein thoda Jugaad toh chalta hai, Lekin Jugaad se zindagi thodi chalti hai!

Exide Life Insurance, an established Life Insurance Company announced the release of its new campaign #NoMoreShortCuts across social media.

The campaign which takes its inspiration from the word ‘Jugaad’ which means quick fix or a shortcut has been released across digital media including social, native and video platforms. Using this campaign the company plans to generate engagements and conversations with its customers over a 30-day period.

If there is one thing we can all secretly admit to, it’s the fact that we have, at some point, taken a short cut in life – be it to beat traffic, solve a problem or simply because we wanted things done faster. We Indians, in particular, are famous for owning this trait on a day-to-day basis. However, short cuts aren’t always the best solution.

Exide Life Insurance used this insight to introduce a unique character named Jugaadulal. In a quirky tale, the audience follows the protagonist in his endeavor to employ short cuts on a daily basis, only to see them fail. He takes us through his experience of using shortcuts and the failures it leads to. In a humorous manner, we are privy to the different phases of his life, and his final realization that shortcuts aren’t the best solution and cannot win over long term planning.

On release of this campaign, Mohit Goel, Director – Marketing said, “The message integrates perfectly with our brand mission of helping Indians prepare financially for a Long and Happy Life. Through this execution, we want our customers to know while short cuts work sometimes, they aren’t always the best solution. And for a long and happy life, you need to have the foresight for long-term planning. This is truly specific for financial planning because there are no shortcuts to making money.”

After all, Zindagi mein thoda Jugaad toh chalta hai, Lekin Jugaad se zindagi thodi chalti hai!
Watch Jugaadulal’s journey from taking shortcuts to understanding the benefits of long term planning.

Credits:
Brand: Exide Life Insurance
Agency: Autumn Worldwide
Director – Amit Baidya
DOP – Amit Trivedi
Colorist – Swapnil Patole