Superstar Aamir Khan says the audience has the full right to be harsh towards a film and feels they got a chance to take out their frustration when Thugs of Hindostan failed.
Released during Diwali last year, Thugs featured an ensemble including Khan, Amitabh Bachchan, Katrina Kaif and Fatima Sana Sheikh. Touted as one of the biggest event films, the movie met with extreme criticism and crashed upon it's release.
Aamir said he doesn't need to "forgive" director Vijay Krishna Acharya as they all set out to make a good film.
"Every director that I work with, they are good and their intentions are good. We all aim to make a good film but sometimes it doesn't happen. Filmmaking is difficult. I'm a team player. If my director has gone wrong, I've gone wrong with him," Aamir said.
"I don't mind failing with my director on his or her instincts. I don't have a problem. I believe in the director and if he has gone wrong, I have too. We will learn from our mistakes," he added.
The actor said he took the responsibility for the failure as the audience came in to watch the film for him.
"Audience came to watch the film on my name. So it was my responsibility. To that audience I feel personally and fully responsible."
While the film was bashed from all quarters, there was a section which felt the criticism was unfair. Aamir said he's aware there are people who liked the film but wouldn't want to be judgemental towards those who didn't.
"I've met a lot of people who told me they liked the film. But I don't judge these things. I think the audience has full right to say exactly what they want and they can be harsh in their criticism, that's their right. If there was a certain amount of harshness, so be it," he said.
"Also, I didn't give a flop film since a long time! So people got an opportunity to take out their anger, which is good too. It's been years since I have had a failure," he quipped.
The actor was in conversation with the media to promote his upcoming production, Rubaru Roshni. Directed by Svati Chakravarty Bhatkal, the film chronicles three real life story of grief and forgiveness.
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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