MR D.I.Y’s Deepavali ad highlights challenges of cross-market campaigns in a hyperlocal era

When MR D.I.Y. released its Deepavali film this year, it may have hoped to spread a heartwarming message about friendship, empathy and inclusion. Instead, the ad sparked a debate about cultural representation and localisation in Malaysia.

The heartwarming film, "A gift of light", tells the story of Priya, a visually impaired girl whose friend Ravi accidentally hurts her feelings during a playful moment with a group painting. When Deepavali arrives, Ravi makes amends by gifting Priya the same painting, this time enhanced with textured details so she can experience it by touch.

The short, originally in Hindi and presumably produced by MR D.I.Y.’s India arm, was later dubbed in Tamil and released on the brand’s Malaysian social channels such as Instagram and YouTube with captions in English and Malay. The film closed with the message: “This Deepavali, may your brightest moments be felt, not just seen”, highlighting empathy, inclusion, and the emotional spirit of the festival.

While the video received praise in India, where audiences recognised Muffin, a social media-famous golden retriever starring in the film, Malaysian viewers criticised the retailer for using a video produced in India that did not reflect the Malaysian Indian experience. Some also speculated that artificial intelligence had been used for dubbing, pointing to mismatched lip movements.

A+M has reached out to MR D.I.Y. for comment but has not received a response at the time of writing.

Don't miss: Don't let scammers steal your light, says Bank Negara this Deepavali 

Sentiments surrounding the campaign

Media intelligence firm DATAXET Nama Malaysia reported that public sentiment in Malaysia around MR D.I.Y.’s 2025 Deepavali film was largely negative at 75%, with only 15% positive and 10% neutral. The backlash centred on claims of cultural insensitivity, poor localisation, and weak production quality, as users felt the film failed to reflect Malaysian Indian culture authentically.

About 35% of comments criticised the use of North Indian actors and settings, calling it “tone-deaf,” “disrespectful,” and a “casual erasure” of local Tamil culture. Another 25% accused the brand of using AI, pointing to mismatched dubbing and distorted audio as signs of “sloppy,” “fake” execution. Roughly 18% voiced frustration that local Indian talent was overlooked, sparking boycott calls and endorsements for rival brands seen as more inclusive.

Still, 12% of comments praised the ad’s emotional message of empathy and forgiveness, describing it as heartwarming and aligned with Deepavali’s spirit. A smaller portion (6%) rationalised the move as a business decision tied to MR D.I.Y.’s regional footprint, while 4% used the discussion to reflect on declining festive spirit and the fading nostalgia of Malaysia’s once-iconic Deepavali ads.

_{Screenshots of comments from MR D.I.Y.'s IG post.}

The launch of MR D.I.Y’s Deepavali film on 10 October 2025 sparked immediate traction, recording over 57,000 interactions as pre-Deepavali buzz peaked across Instagram, Facebook, and X. Engagement remained strong through 14 October despite the backlash and debate around cultural authenticity and representation. Online discourse evolved from curiosity to criticism, as users questioned why a Malaysian-founded brand chose to localise an Indian-market film rather than produce a homegrown one that reflected Malaysian Indian identities.

A word cloud analysis by DATAXET Nama revealed three dominant themes shaping the conversation: cultural representation, emotional response, and brand accountability. Terms such as “Malaysian Indians,” “Tamil,” and “deserve” underscored calls for authentic representation, while emotional descriptors such as “beautiful” and “touching” reflected appreciation for the film’s intent, albeit tempered by frustration over perceived inauthenticity. Mentions of “AI,” “video,” and “disappointing” highlighted irony in a brand named MR D.I.Y seemingly “DIY-ing” a festive ad that missed the cultural mark. The overall tone reflected growing public demand for sincerity and localisation in festive storytelling.

Industry views on cross market campaigns

Despite the backlash, industry observers agree that the film’s story carried a universal appeal. However, they also noted that such cross-market campaigns can easily misfire in today’s environment, where audiences expect brands to reflect their local realities.

One thing the ad succeeded in, was to spark conversation. “Bad publicity is publicity nonetheless. The story is nice and touching, but it looks like it was made for the India market and adapted for Malaysia, or maybe just a cost-cutting move,” said VJ Anand, co-founder and chief creative officer at Ballsy. “It’s cinematic and has that Bollywood vibe, but it would’ve been better made locally. We have so many good filmmakers and actors here. If it’s for Malaysia, make it look like it’s for Malaysia.”

Meanwhile, former DIA Brands managing director, Sutapa Bhattacharya, shared that cross-market campaigns are not new, but they demand greater cultural sensitivity today. “Many big brands do it all the time. In the past, we told a client that the insight that works for India does not work for Malaysia, and they eventually tweaked it,” she explained. “The idea behind MR D.I.Y.’s film is universal, but perhaps what triggered the negativity was that the talent and environment were clearly not local."

Bhattacharya added that in the past, pan-Asian faces would be used in visuals to represent any Asian race. However, brands today are more careful around cultural and national identities. "Race is not the only identity. A person's immediate environment and ambient culture also count. We need to appreciate and respect these differences, and the similarities that exist," she added.

Additionally, localisation and colloquialism remain a crucial consideration for campaigns tied to culture or festivities, shared Rudy Khaw, former CEO of AirAsia brands co. (Abc). “These things help with relatability and create a stronger connection with the audience,” he said. “Culture evolves, still rooted in where it comes from but with added local flavour. It's hardly a one-size fits all effort.” He also quoted the example of how celebrating Christmas in Japan is synonymous with eating KFC fried chicken buckets.

Khaw noted that cross-market campaigns can work when they are built around a message that aligns strongly with the brand’s identity. “It’s more sincere when a brand wraps a campaign around a message it believes in, rather than wrapping a festive celebration around the brand,” he added.

Perhaps what was missing was clear context for Malaysian audiences about how the video was maybe adapted from MR D.I.Y.’s Indian arm, which might have alleviated doubts over its origins and whether AI had been used. The ad’s setting outside Malaysia and the use of non-local talent contributed to perceptions of cultural disconnect, even if the story itself was heartfelt.

For a homegrown brand that many Malaysians take pride in, this Deepavali campaign may have missed the mark, but it also highlights a broader trend: Malaysian audiences are increasingly discerning and expect brands to move beyond universal storytelling, investing in authentic local representation, especially for cultural festivals that carry deep emotional and communal significance.

Accelerate your brand’s growth with AI-first strategies, emerging tech and data-driven experiences. Join the industry's leading marketers at Digital Marketing Asia 2025 Malaysia on 30 October to uncover transformative trends, real-world wins and powerful ideas for 2025 and beyond.

Related articles: 
11 Deepavali campaigns that lit up our feeds this 2025
Maxis shines a light on ‘Teddy bear doctor’ story for Deepavali
Julie's Biscuits explores family dynamics in first Deepavali short film 'The Duel'