Anmol Biscuits Flips Raksha Bandhan With a Brother Tying the Rakhi
"Iss Baar Mera Number Hai" is a 2025 digital ad film created by Meraqi Digital for Anmol Biscuits in India, in which a brother ties the rakhi to his sister, reversing the conventional Raksha Bandhan ritual to argue that love has no fixed roles.
The campaign launched in August 2025, as reported by trade publications including mediabrief.com and BestMediaInfo on August 8, 2025, and was later archived with an October 2025 publication date. Its central mechanic is structurally simple and emotionally loaded: the sister, traditionally the one who ties the rakhi and prays for her brother's protection, becomes the recipient of that same gesture. The hashtag #IsBaarMeraNumberHai functions as both a campaign line and a cultural provocation, asserting that affection, gratitude, and ritual recognition can and should travel in both directions across a sibling bond.
Anmol Industries, the Indian packaged-food company behind the Anmol Biscuits brand, operates across biscuits, cakes, cookies, and confectionery, according to Meraqi In and exchange4media.com. By 2025, the brand had evolved its communication away from product-led messaging toward a broader emotional platform anchored in the idea of "Har Pal Anmol," using festivals and themes of inclusion to build resonance with Indian households, as documented by exchange4media.com and afaqs.com. "Iss Baar Mera Number Hai" sits squarely within that strategic arc. In India, Raksha Bandhan represents one of the most commercially and emotionally significant gifting and sharing occasions of the year, making the festival a natural but fiercely contested space for confectionery and snack brands to assert cultural relevance. Anmol's choice to enter that space with a narrative that challenges the ritual's gender assumptions rather than simply celebrate it marks a deliberate step toward a more contemporary brand identity. The campaign contains one media asset — a short film — distributed across digital channels. Clapboard Score: 63/100.
Anmol Biscuits entered the 2025 Raksha Bandhan advertising cycle with a strategy rooted in emotional differentiation rather than product prominence. The Indian biscuit market in which Anmol competes is substantial and growing. According to kenresearch.com, the Indian biscuit, cookie, and cracker market is estimated at approximately ₹1.16 lakh crore in 2025 and is projected to reach ₹1.64 lakh crore by 2030 at a compound annual growth rate of 6.8 percent. Within that market, according to credenceresearch.com, the biscuit-only segment is estimated at approximately US$4.99 billion in 2025, with projections extending to US$8.52 billion by 2035.
Anmol operates in a competitive field dominated by two significantly larger players. Britannia Industries holds an estimated market share of approximately 31 to 38 percent in the Indian biscuit market, according to kenresearch.com and voronoiapp.com. Parle Products, the other dominant force, commands comparable scale. Against this duopoly, Anmol's route to relevance is necessarily cultural and emotional rather than purely distributional. Raksha Bandhan advertising in India is saturated with sentiment, but most executions reinforce the conventional dynamic — sister ties rakhi, brother promises protection — a framing that, while warm, has become predictable.
The consumer insight driving "Iss Baar Mera Number Hai" is that modern Indian siblings increasingly experience their bonds as reciprocal: sisters protect, guide, and nurture just as brothers do. Meraqi Digital's strategic choice was to surface that lived reality and make it the emotional engine of the film. As mediabrief.com noted in its August 8, 2025 coverage, the campaign was identified as one of the Raksha Bandhan executions that "caught our eye" precisely because it shifted the frame from fixed gender roles toward emotional reciprocity. That shift gave Anmol a distinct and ownable position in a crowded festival advertising landscape across India.
"Iss Baar Mera Number Hai" is built on a single, sustained emotional reveal. The film's creative architecture relies on childhood flashbacks to establish the sister's accumulated role as the quiet source of love, guidance, and protection within the sibling relationship, before arriving at the moment the brother ties the rakhi — an act that recontextualises everything that came before it. According to BestMediaInfo's August 8, 2025 coverage, the film uses these childhood flashback sequences and a moment of surprise to construct its emotional argument, allowing the reversal to land not as a stunt but as an earned and logical conclusion to the story being told.
The creative concept was conceptualised, written, and executed by Meraqi Digital, as confirmed by the agency's own documentation at meraqi.in and by the campaign's submission to Clapboard by Ankit Saraf of Meraqi Digital LLP. Production credits for the individual director or cinematographer on "Iss Baar Mera Number Hai" are not publicly documented beyond the agency attribution. The campaign is classified as a digital and film execution, distributed as a single media asset across digital channels in India.
The narrative tone is restrained and observational rather than melodramatic, which is a meaningful craft choice in a festival category that frequently defaults to heightened sentiment. By allowing the ritual reversal to emerge from accumulated storytelling rather than announcing it immediately, the film earns its emotional payoff. The hashtag #IsBaarMeraNumberHai reinforces the film's thesis at the level of language — framing the sister's turn to receive not as an exception but as an overdue correction. Medianews4u.com covered the campaign as part of the broader 2025 Raksha Bandhan advertising wave in India, situating Anmol's film within a cohort of festival executions attempting to update the cultural meaning of the occasion rather than simply reflect it.
No independently verified performance data — including view counts, engagement rates, earned media reach, or sales-lift figures — for "Iss Baar Mera Number Hai" is publicly available at the time of writing. What exists is qualitative editorial recognition. Mediabrief.com and BestMediaInfo both covered the campaign on August 8, 2025, identifying it within their respective roundups of Raksha Bandhan advertising that merited attention, which represents meaningful earned trade-press visibility for a challenger brand competing against Britannia Industries and Parle Products in the Indian confectionery and snacks space.
Structurally, the campaign's effectiveness rests on a mechanism — ritual reversal — that is both legible to a mass Indian audience and genuinely uncommon in festival advertising. The risk in that approach is that novelty can overshadow brand recall; the mitigation here is that the film is anchored to a specific emotional truth about sibling relationships rather than constructed as a provocative gesture for its own sake. The single-asset format limits reach through sheer volume but concentrates creative equity into one piece of content, which is an appropriate strategy for a brand building emotional platform recognition rather than driving immediate conversion.
Clapboard Score: 63/100. The score reflects a campaign that executes its central idea with clarity and emotional integrity, and that earns genuine distinction within its festival category, while remaining constrained by limited production documentation, a single-asset footprint, and the absence of verifiable performance metrics that would confirm audience impact at scale.
"Iss Baar Mera Number Hai" is a 2025 Raksha Bandhan digital film by Meraqi Digital for Anmol Biscuits in India. It reverses the traditional festival ritual by showing a brother tying the rakhi to his sister, arguing through storytelling that love and affection have no fixed gender roles within a sibling bond.
Meraqi Digital created the campaign. The work was conceptualised, written, and executed by the agency, and was submitted to Clapboard by Ankit Saraf of Meraqi Digital LLP. It was produced as a single digital and film media asset for Anmol Industries, the parent company behind the Anmol Biscuits brand in India.
The campaign launched in August 2025. Trade publications including mediabrief.com and BestMediaInfo covered it on August 8, 2025, placing it within the Raksha Bandhan advertising cycle. A secondary archive entry records an October 2025 publication date, reflecting the campaign's continued circulation after the festival period in India.
Anmol Biscuits competes through emotional and cultural differentiation. Britannia Industries holds an estimated 31 to 38 percent share of the Indian biscuit market, according to kenresearch.com and voronoiapp.com, and Parle Products commands comparable scale. Anmol's festival-led narrative strategy, reflected in campaigns like this one, targets resonance rather than purely distributional reach.
The campaign receives a Clapboard Score of 63 out of 100. The score recognises the film's clear creative idea and genuine emotional distinction within Indian festival advertising, while noting constraints including limited production documentation, a single-asset format, and the absence of publicly verifiable performance data confirming audience impact at scale.
The hashtag translates roughly as "This time it is my turn" and is spoken from the brother's perspective. It frames the act of tying the rakhi to his sister not as an anomaly but as an overdue recognition of her role. The phrase functions as the campaign's thesis, asserting that reciprocal affection is a natural evolution of the sibling bond.
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