Soon after Telangana was created as a separate state, Sonia Gandhi temple was created by some of the Congress leaders in Mallial town. In this temple, there is a stone idol of Sonia Gandhi posing as a goddess with lotus in one hand and a plate full of rice in another. The leaders also installed portraits of Indira Gandhi, Rajiv Gandhi and Rahul Gandhi on temple walls outside.
2. Bullet Baba Temple, Rajasthan
Om Banna also called Shri Om Banna or Bullet Baba is a shrine located in Pali district near Jodhpur, India. Here devotees worship a motorcycle of Om Singh Rathore who died in a crash after colliding with a tree. Hundreds of people turn up every day to pray for a safe journey. The motorcycle is 350cc Royal Enfield Bullet RNJ 7773.
3. Karni Mata Temple, Rajasthan
Karni Mata Temple is also known as the Temple of Rats, situated 30 km from Bikaner, in Rajasthan, India. The temple is famous for the approximately 25,000 black rats that live, and are revered in, the temple. These holy rats are called kabbas, and many people travel great distances to pay their respects.
4. Visa Temple, Hyderabad
Chilkur Balaji Temple, popularly known as Visa Temple, is an ancient Hindu temple of Lord Balaji on the banks of Osman Sagar in Hyderabad. It is believed that this temple makes your dreams come true if you wish to travel abroad. Most of the devotees visit this temple before their visa interview.
5. Gata Loops Bottle Temple, Ladakh
This temple was built for the Ghost of Gata loops in Manali Leh highway. People offer water bottles at the temple for a safe and sound journey. According to popular beliefs people who refuse to offer water were soon seen writhing with mountain sickness, and some also died due to it. So, people passing by make sure to offer water so as to have safe journey ahead.
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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