Anita Hassanandani has been working in the Indian television industry for two decades now, but every time she plays a new character, she looks as fresh as the morning dew. Though the talented actress has essayed a wide range of characters over the years, she received immense love and appreciation for portraying a negative character in Ekta Kapoor’s supernatural revenge drama Naagin 3.
After impressing viewers with her performance in Naagin 3, Anita Hassanandani will be entering Naagin 4, the latest instalment of the superhit show. The actress will reprise her popular character of Vishakha in Naagin 4 and she is quite thrilled about the same.
"I am so excited to be back in Naagin because to play Vishakha was an amazing experience and to carry it forward is an amazing opportunity. There will be so many twists and turns as I am back to reveal a secret to the family," said the actress.
She revealed that her entry in the show was not pre-planned. "That was never the plan. It is just that they got in touch with me and I thought Naagin is a big brand and why not? Vishakha is a powerful character. So, it fell in place and I hadn't taken up anything anyway. I was not doing much, had not taken up any show, so I just thought this was right. It is always a proud moment to get associated with a brand like Naagin. It is super successful and loved. Hence, instantly I said yes."
The actress added that she does miss her co-star Surbhi Jyoti from the third part of the series. “People had loved it and we got so much love. I definitely miss the team here, although the crew is the same. I definitely miss Surbhi Jyoti. But it is still a comfortable zone for me as I know Nia Sharma. It is not like I am working with someone stranger. For me, it is like home, but I do miss Surbhi. I haven't shot much with Nia as of now. I have a lot with Jasmin, and she is very nice and sweet.”
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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