Filmmaker Aanand L Rai says that he has taken it upon himself to continue narrating stories that speak about the magic of love, something he believes has been missing from the everyday life of people nowadays.
The 50-year-old director, best known for weaving romantic dramas such as Tanu Weds Manu (2011), Raanjhanaa (2013), and Zero (2018), also lamented that there are only a few filmmakers who continue to tell stories in the romance genre.
“It is often said that when something is not around us, we stop talking about it. In today's time, we as makers are not indulging ourselves in telling love stories. We have lost love. Love is not the most important thing in today's time. I personally don't like this feeling,” Aanand L Rai told PTI in an interview.
As a filmmaker, Rai said that he is always inclined to promote stories that are “full of love”. “I will always push stories which are full of love. I am the most fortunate person who has always got his share of love. I have never been deprived of love with the people around me - family and friends. And I feel very happy about it. I think your life only gets completed if you get your share of love. Maybe one reason is that there is so much love around me that I want to show that on-screen,” he added.
Rai is currently awaiting the release of his upcoming directorial Atrangi Re, a tale of a twisted and complex love triangle among three characters - Rinku (Sara Ali Khan), Vishnu (Dhanush), and Sajjad (Akshay Kumar).
"It is the purest and most complicated love thing I have ever held. I wanted to come back with something extraordinary in a very simple way. I have enjoyed every moment of making the movie," the filmmaker said.
The movie, Rai said, is a test for him in understanding what "we are going through at this point of time". “This film will make things clear for me," he added.
Rai promises whatever the audience has experienced about "love" through the trailer of Atrangi Re, the film is much more than that.
It marks the second collaboration between Rai and Dhanush after the actor's 2013 Bollywood debut Raanjhanaa. The director said the South star has always been first on his wish list to play a character in his films if he fits the bill.
"It took me seven years to get him back in my Hindi film. This belongs to Dhanush. If I say more, I might sound biased. He is more than an actor to me; he is like a brother. He is one of the finest actors I have worked with,” he said.
Atrangi Re features Dhanush as Vishnu, a Tamil man, who is not very fluent in Hindi. Rai noted that though Hindi isn't Dhanush's mother tongue, the actor has "mastered" the craft of emoting scenes and dialogues in the language on screen.
Besides Dhanush, Rai is also reteaming with music maestro AR Rahman on Atrangi Re after Raanjhanaa. The filmmaker said it was easy to get Rahman on board this time around.
"I go to him when I feel I am short of something inside me, he makes me a better storyteller. Whenever he is around, I have a feeling I will be a better director. He not only contributes through his songs, but he contributes to the characters, the feel, and the colour of the film. For me, he is the most important soul of this film. I can't see Atrangi Re without AR Rahman," Rai added.
Atrangi Re, produced by Bhushan Kumar, Rai's Colour Yellow Productions, and Kumar's Cape of Good Films is set to release on December 24 on Disney+ Hotstar.
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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