Actor Angad Hasija’s popular show Sapna Babul Ka...Bidaai is currently on air in Indonesia. The actor, who rose to fame with the same show in India, says that the show changed his life. “Bidaai has been a lucky show for everyone. It is also a number show in Turkey, Albania and Bulgaria. Bidaai changed my career completely; it made me successful. People work in so many shows and go through so many difficult phases to make a mark, but I never had to face such problems. It has been almost 5 years since Bidaai went off-air in India, but people are still crazy for the show. I still attend events as a part of Bidaai,” says Angad.
Angad is excited to be in Indonesia currently. “Here, people are crazy about India. All my friends, who have been here, told me a lot about the country and now I am finally here, so obviously, I am excited. I heard that the fans are very supportive. I know that I am going to learn something different and new,” he says.
Indian actors are often given fat pay cheques for their work in Indonesia. Ask him if this is a motivation for him as well, and he says, “It is true that they pay good money and somewhere everyone feels that their efforts should get good money, that they deserve better. And people in Indonesia are crazy about Indian actors; they love our shows, so the money will obviously be generous as well.”
The actor played a mentally challenged man in Bidaai and says that it was tough. “My character Alekh was a Schizophrenic. Initially, I had a problem, but I really worked hard to build the character. And now, my efforts are being paid off. I got a lot of fan-following and people still praise me for my acting,” he says.
Angad also met Rani Rajesh Jagtiani of PT Spectrum Films and says that it was a pleasure. “I had heard a lot about her. When I met her, I felt very comfortable. She knows how difficult it can be to settle in a new place, so she makes sure that you are at home. She also talks very nicely. And most importantly, she is a nice person,” he adds. Rani Rajesh is famous for acquiring Indian programs and with the telecast of Mahabharat in Indonesia the trend of Indian actors being called to Indonesia started.
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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