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Home Advertising

How Little Monk’s Innovative Digital Strategy For Gone Kesh Drove Audiences To Theatres

Shubham Sachdeva by Shubham Sachdeva
May 1, 2019
in Advertising, Campaigns
A A

Gone Kesh, starring Shweta Tripathi, Jitendra Kumar, Vipin Sharma, Deepika Amin is directed by Qasim Khallow. The film dealt with the sensitive issue of alopecia. The movie presented by Eros International is a DNG Films production. It’s the first Bollywood film made on the issue.

Marketing plays an important role in making any movie successful and after the growth of Internet, social media has become a powerful medium to market movies. Gone Kesh a low budget film starring Shweta Tripathi, Jitendra Kumar, Vipin Sharma, Deepika Amin has achieved amazing reviews and good numbers on Box office and social media helped the movie in achieving so. Made on the sensitive issue of alopecia, the movie was directed by Qasim Khallow.

Marketing Objective from Social Media

Considering the tight budget and absence of big stars, it was not easy for the marketers to get the desired results. From social media, the primary objective was to create a buzz by making audience aware about the movie. What was more challenging was the fact that the campaign had to be launched only three weeks before it’s release. This made the duration for promotions and scope of awareness extremely limited.

The makers of the movie associated with Little Monk to make the most of social media within three weeks before it’s release. Considering both time and budget the Little Monk team decided to keep it simple yet strategic to maximise the movie’s digital footprint.

Poster & Trailer Launch

The campaign kick started with a simple poster of Shweta’s bald look from the movie followed by the trailer launch. The bald look attracted viewers and made them curious about the movie. The poster instantly went viral with Shweta getting praises from everywhere.

The successful launch of the poster was followed by the trailer launch of the movie. To gather maximum attention, the trailer was launched both on the YouTube channels of Eros Now and Zee Music Company. On Facebook, it was uploaded on Gone Kesh’s official movie page. To maximize the reach, the trailer was crossposted in over 25 prominent media pages with an estimated collective reach of over 50 Million; including the Bollywood on Facebook page which has close to 6.5 Million followers alone.

Keeping in mind the interest of social media users, the trailer was triggered multiple memes based on the movie. A lot of them came out of popular platforms such as RVCJ Media

https://www.instagram.com/p/BvhSyBEBM-U/

https://www.instagram.com/p/BveuZkIByzn/

Creative Content

Because the duration of the campaign was short, the team decided to come up with specialised creative content to promote various regular aspects of the movie such as countdowns, characters etc. This helped get a lot of traction with audiences digitally. Below are some of the creatives:

Character Based

https://www.instagram.com/p/BvWS3qbj98D/

10 Days Countdown

https://www.instagram.com/p/BvLxn2MDZyL/

1 Week Countdown

https://www.instagram.com/p/BvT9TNtDWvd/

5 Days Countdown

https://www.instagram.com/p/BvZDpY8hO4_/

2 Days Countdown

https://www.instagram.com/p/BvgnH8hlOPx/

Media Associations

The target audience for this movie was the multiplex going moviegoers in the age group of 16 – 30. To make them visit theatures and watch this movie, Gone Kesh associated with interesting content creators. A video was made in association with RVCJ Media which gathered over 2 Million views. Similarly, other content creators including Quint, The Screen Patti, Scoopwhoop, Laughing Colors, Bollywood Now among many more helped the movies to gain millions to reach millions of people across all the popular social media platforms.

RVCJ Media

Quint

https://www.facebook.com/quintillion/videos/283122795918574/

h3>The Screen Patti

https://www.youtube.com/watch?v=17Asdwt1Owc

Exclusive Collaborations

Gone Kesh was not just a family entertainer but also about an important issue. The issue being very close to women, made them a very important part of the target audience. To make them reach the theaters, the team partnered with women centric app Sheroes.

Sheroes has a community of more than 5 Million+ women. To engage with them about the movie, social media posts were made by the Sheroes team to drive conversations. Also, a banner made available of the top of their homepage both on their website and their app. To get the maximum benefit, a push notification was sent out to all its community members with the booking link on the day of the movie release.

In addition to this, there were multiple other collaborations with platforms such as RVCJ, School vs College Life to push content and awareness through memes and funny posts. This gave a huge edge to the movie and make awareness of the movie amongst its target audiences.

Results

Due to all the above activities, a movie which was almost unknown two weeks back became one of the most talked about releases in recent times with amazing reviews. Gone Kesh received appreciation from all quarters; critics and box office alike.

Apart from the trailer, all the video associations combined contributed to over 20 Million+ views. This is huge for a small budget film given the short duration of the campaign. This helped tremendously in driving audiences to theaters. The entire campaign delivered three types of audiences to theatres – youth, families and primarily women.

Talking about the success of this campaign, Bishal Paul, CEO, Little Monk Digital said

Gone Kesh was a very challenging film for us. Precisely for two reason – time and budget. However we wanted to make it a model film to showcase that irrespective of budget constraints every move can be marketed digitally with right strategies and correct intentions. I am extremely happy that we have been able to deliver the same for a beautiful movie like Gone Kesh.

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Every marketer talks about building awareness, few have to build it without talking about the product. India's alcobev industry has spent decades navigating that paradox. Direct product advertising isn't permitted, making surrogate advertising only one part of the marketing equation. The bigger challenge has always been earning something no media budget can buy: consumers who become advocates for the brand. For Debasree Dasgupta, Chief Marketing Officer, Pernod Ricard India, that's the category's biggest truth. “Consumers will always be your biggest advertisers,” she said. It's a philosophy born out of necessity. But it has also shaped how alcobev brands think about marketing itself. “The principles of marketing are the same whether it's personal care, beauty or alcobev. What changes is the complexity.” That complexity, according to Dasgupta, isn't just about navigating regulations. It's about understanding consumers, managing a diverse portfolio, and ensuring brands continue to grow despite having fewer traditional marketing levers than almost any other consumer category. India remains one of the world's most tightly regulated alcohol markets, where brands have to navigate different state regulations, on-trade and off-trade ecosystems, and restrictions on advertising products directly. For marketers, that has meant learning an entirely different language of brand building. Marketing hasn't changed, The rulebook has Dasgupta's own career has prepared her for exactly that. Rather than following a straight path, she has moved across FMCG, health and hygiene, beverages and now alcobev, picking up different lessons along the way. “I think the beauty is that I didn't have a linear career path, and I think it was very deliberate and intentional.” Each company, she said, has added a different layer to her understanding of marketing. “Unilever taught me to be extremely consumer-centric and always keep the consumer at the heart. Reckitt taught me commercial discipline, that marketing needs to lead to commercial and business growth. PepsiCo was about how brands stay relevant in culture.” Bringing those experiences together at Pernod Ricard has reinforced one belief. “The principles of marketing remain the same.” The environment, however, certainly doesn't. While referring to India as one of the markets where alcohol advertising is prohibited, she said, “The regulatory landscape is quite complex. That's the piece that one needs to wrap their minds around as you navigate and ensure that you're able to drive business growth.” That complexity extends well beyond regulation. “At a portfolio level, it's important for us to understand what is delivering the present and what will deliver tomorrow,” she said. “Where is growth coming from today, and where will growth come from in the future?” When consumers become the media channel Perhaps the biggest difference between alcobev and traditional consumer goods lies in how brands create awareness. Unlike an FMCG company, Pernod Ricard cannot advertise its alcohol products directly. “So the disadvantage that we have versus CPG is we cannot advertise products,” Dasgupta said. “We are in compliance with the guidelines that exist today.” Instead, the company builds visibility through compliant brand extensions such as packaged drinking water, while investing in passion points like cricket, music and digital platforms. “For us, the brand extension is a compliant business in itself and we can advertise that. We continue to double down on social, digital and influencer marketing for those businesses.” Furthermore, Dasgupta went on to say, “What we rely on is on-premise advocacy. We rely on sampling. We ensure that our liquids are extremely high quality so that when the moment of truth happens, consumers really love the product.” That has also meant new launches take longer to build. “Awareness build-up is much slower because consumers discover the product at the point of sale. That's very different from an FMCG brand.” Which naturally raises another question: if brands can't advertise products, who does the selling? “The consumers will always be your biggest advertisers,” Dasgupta said. “If you walk into an outlet and see someone drinking, it gives you confidence in the brand.” Word of mouth, she believes, becomes one of the category's most powerful marketing channels. “In a category where you can't advertise the product, consumers become your champions.” That consumer-first philosophy also shapes how global brands are adapted for India. For marketers outside the alcobev industry, the constraints may seem daunting. For Dasgupta, they've simply reinforced a timeless lesson. When the product can't do the talking, the brand, and ultimately the consumer, has to.

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