Sahabzade Irrfan Khan is the recipient of Padma Shri, the fourth highest civilian honor of India. He has earned National Film Award for Best Actor from Paan Singh Tomar alongside three Filmfare Awards for Paan Singh Tomar, Life in a Metro and Haasil and many more.
Its very difficult to choose best of his movies because all the movies done by him are BEST.
1] LunchBox (2013)
The LunchBox is one of the superb Irrfan Khan movies. Irrfan expressed every emotion beautifully through his eyes. It is an Indian epistolary romantic film. he film was screened at International Critics’ Week at the 2013 Cannes Film Festival, and later won the Critics Week Viewers Choice Award also known as Grand Rail d’Or. It was shown at the 2013 Toronto International Film Festival. The film was a box-office success.
2] Life in a Metro (2007)
The film narrates the individual lives of nine people living in Mumbai and deals with topics like Extramarital affairs, a sanctity of marriage, and love. Irrfan Khan grabbed the Best Supporting Actor at the Filmfare awards for this movie.
3] Paan Singh Tomar (2012)
Paan Singh Tomar is a movie based on the true story of the athlete Paan Singh Tomar. A soldier in the Indian Army, he wins a gold medal at the Indian National Games but is forced to become a notorious dacoit due to some circumstances. The film won the Best Feature Film and Best Actor in the 60th National Film Awards 2012.
4] Life of Pi (2012)
Life of Pi is an American 3D adventure drama film based on Yann Martel’s 2001 novel of the same name. It won four awards at the 85th Academy Awards.The storyline revolves around an Indian man named Piscine Molitor “Pi” Patel, living in Canada and telling a novelist about his life story and how at 16 he survives a shipwreck in which his family dies, and in stranded in the Pacific Ocean on a lifeboat with a Bengal tiger. Life of Pi emerged as a critical and commercial success, earning over US$609 million worldwide and it is one of the leading Irrfan Khan movies. It was nominated for three Golden Globe Awards which include the Best Picture-Drama and the Best Director and won the Golden Globe Award for Best Original Score.
5] Talvar (2015)
The movie is based on the 2008 Noida double murder case, in which a teenage girl and her family servant were found murdered, and her parents were convicted for the murders. Irrfan Khan acted in the role of Ashwin Kumar, a crime investigation officer in the movie.
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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