Pooja Pillai is an entertainment journalist with Asian Media Group, where she covers cinema, pop culture, internet trends, and the politics of representation. Her work spans interviews, cultural features, and social commentary across digital platforms.
She began her reporting career as a news anchor, scripting and presenting stories for a regional newsroom. With a background in journalism and media studies, she has since built a body of work exploring how entertainment intersects with social and cultural shifts, particularly through a South Indian lens.
She brings both newsroom rigour and narrative curiosity to her work, and believes the best stories don’t just inform — they reveal what we didn’t know we needed to hear.
Aamir Khan isn’t rushing his next big move. After a quiet spell post Laal Singh Chaddha, the actor has finally shared a concrete update on what’s long been rumoured: his ambitious attempt to adapt the Indian epic Mahabharat for the screen.
Speaking to The Hollywood Reporter, Aamir confirmed he’s ready to begin early work on the project this year though fans shouldn’t expect a quick rollout. “The writing alone will take years,” he admitted, hinting at the scale and complexity of the plan. What he envisions isn’t a single film, but a sprawling multi-part series, inspired by the structure of The Lord of the Rings.
Rather than centring himself as its hero, Aamir is stepping into the producer’s seat first. Whether or not he’ll act in it remains undecided. Casting, he says, will be entirely dependent on what each role demands. “It’s not about who I want, it's about who fits” he explained.
As for directing? He’s not holding on to that either. “Telling the Mahabharat in one film is impossible. It needs to be done in parts, probably with multiple filmmakers,” he said, acknowledging the need for varied perspectives to do justice to the epic’s depth.
This isn't a sudden decision. Aamir has been circling this dream for years. Back in 2018, reports claimed he exited the Rakesh Sharma biopic to focus on Mahabharat, then rumoured to cost over £95 million (₹1000 crore). But by 2022, he was still unsure. Speaking then, Aamir explained that making the film was not just a cinematic task, but a deeply personal and spiritual commitment.
The Bollywood icon calls his long-gestating Mahabharat project a spiritual journey, not just a cinematic oneGetty Images
For now, he’s keeping things grounded. He knows the expectations. He knows the pressure. And he’s in no mood to cut corners. “This isn’t just another project,” he said, “It’s one of my biggest dreams.”
In the meantime, Aamir will return to screens with Sitaare Zameen Par, a thematic follow-up to his 2007 hit Taare Zameen Par. Directed by RS Prasanna, the film stars Genelia Deshmukh and reunites him with Darsheel Safary. It’s due to release in June 2025.
So while Mahabharat is still years away, Aamir Khan is finally setting the wheels in motion slowly, thoughtfully, and on his own terms.
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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