The actor launched the fitness and sportswear brand, HRX in 2013. A first of its kind in the industry, these products are lightweight and made of premium fabrics. Hrithik also roped in young actor Tiger Shroff as the face of HRX. This brand targets fitness and lifestyle clothing primarily for men, the collection had basic yet smart designs, especially for gym buffs.
2. Sonam Kapoor
Brand name: Rheson
The Line includes: Designer wear for women
Sonam Kapoor is known as the fashionista of Bollywood and Rheson is the brainchild of Sonam and her designer sister Rhea. The name of the brand is a clever acronym using parts of both of their names, and is focusing on creating high street fashion meant for all girls. But they ensured it that it is made affordable.
3. Bipasha Basu
Brand name: The Trunk Label
The Line includes: Casual and Designer wear
Bipasha launched her online store, The Trunk Label. The line consists of exclusive party wear; comprising bags, accessories and shoes that are in line with the actress’s bold fashion statement.
4. Salman Khan
Brand name: Being Human
The Line includes: Casual wear for men and women
Salman Khan owns the clothing brand Being Human, which is very popular among the youth. He also prefers wearing clothes from his own brand for most of his public appearances. The Being Human Foundation also performs many charitable activities.
5. Shilpa Shetty
Brand name: SSK line
The Line includes: Designer sarees for women
Shilpa Shetty Kundra launched her popular SSK line of designer sarees. Her style choices prefer solid bright colours instead of patterns. The actor feels that it’s easier to mix and match accessories with solid colours, whereas patterns look too crowded. And her collections consists of gorgeous sarees especially for the festival season in a variety of materials.
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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