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.
Just four days after its Netflix release, Pushpa 2: The Rule (Reloaded) has become a global sensation, breaking records and sparking conversations worldwide. Directed by Sukumar and starring Allu Arjun, the Telugu action-drama has climbed to the number-one spot in seven countries and secured second place in Netflix’s global Non-English Movies category with 5.8 million views. Its high-octane action and Allu Arjun’s performance have left international audiences hooked.
The film’s mix of intense action, drama, and cultural flair has struck a chord with audiences well beyond India. One scene that has taken the internet by storm is the Jathara sequence, where Allu Arjun, draped in a saree, delivers a powerful dance before launching into an adrenaline-pumping fight. This merge of bold cultural flair and high-energy action has become the talk of the globe, with audiences both awed by its audacity and questioning its over-the-top execution. While some praised its creativity, calling it “better than modern US movies,” others questioned its physics-defying stunts, with comments like, “How does he fly so high without wings?”
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Even with the mixed reactions, the film’s narrative and striking visuals have won widespread praise, with some international fans even comparing it to Hollywood blockbusters. One user stated, “Marvel has been lacking this creativity. They have the budget.” Another quipped, “India’s just showing off at this point, treating fight scenes like an art form.”
The film’s success isn’t just limited to its action sequences, though. Rashmika Mandanna’s portrayal of Srivalli and Fahadh Faasil’s menacing performance as the antagonist have added a lot of depth and layers to the story. The reloaded version, with 23 minutes of additional footage, has further amplified its appeal, offering a richer cinematic experience.
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Pushpa 2: The Rule has not only shattered box office records, grossing over ₹1800 crore worldwide, but it is also changing how Indian cinema is viewed globally. The Netflix release has opened doors to a wider audience, proving that people are welcoming and accepting different kinds of cinema, transcending borders. As the film continues to dominate streaming charts, it’s clear that Pushpa 2 is turning into what we can call a cultural phenomenon. With its own unique approach and broad appeal, Pushpa 2 has set a new benchmark for Indian cinema on the global stage. Whether loved or critiqued, it’s undeniable that the film has left a mark across the world, sparking discussions and perhaps redefining what action cinema can be.
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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