It is always said that actresses in Bollywood films are just there to look good and do some singing and dancing. However, there have been filmmakers who have broken these norms and have proved that actresses can also be heroes.
Today, on Women’s Day, let’s look at the list of 5 Bollywood films that celebrate the true spirit of womanhood.
Mother India
1957 release Mother India starring Nargis Dutt in the lead role is undoubtedly one of the best films made in the history of Indian Cinema. The movie showcases the struggle of a single mother and how when her son disrespects a woman, she picks up the gun and kills him. The film was nominated at the Academy Award for Best Foreign Language Film.
Damini
Rajkumar Santoshi’s Damini showcased the harsh reality of society. The movie was about a maid getting raped by four rich guys and how Damini (brilliantly played by Meenakshi Seshadri) goes against her family and fights for justice. Damini showcased that a woman is not weak and when she decides to fight for justice no one can stop her.
Queen
Ever thought a film about where a girl decides to go for her honeymoon alone. Well, we got to see a totally different story on the big screen in 2014. We are talking about Kangana Ranaut starrer Queen. The film was about a girl’s journey to find her inner self. It is clearly one of the most beautiful films made in Bollywood.
Mardaani
Rani Mukerji starrer Mardaani spoke about child trafficking in India and gave a message that women are not weak. Girls need to understand their strength and how it is important for every girl to learn self-defense.
Saand Ki Aankh
Age is just a number and that was proved by Shooter Dadis, Prakashi Tomar and Chandro Tomar. We got to see their story on the big screen in 2019 release Saand Ki Aankh. Starring Taapsee Pannu and Bhumi Pednekar, it is surely one of the most inspiring films in Bollywood.
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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