Ankita Lokhande and late actor Sushant Singh Rajput became a household name after they paired opposite each other in Ekta Kapoor’s long-running show, Pavitra Rishta. The audience loved their fresh pairing and crackling chemistry on the show. It was on the sets of Pavitra Rishta that the duo fell in love with each other and dated for six years before calling it quits in 2016.
On 14th June, Sushant Singh Rajput committed suicide at his Bandra residence in Mumbai. The news of his sudden death shook everyone, including his ex-Ankita Lokhande, who is reportedly devastated after hearing the news. Today, the actress visited the late actor’s house to meet his family.
In an interview, actress Prarthana Behere, who played an important role in Pavitra Rishta, said, “I can tell this about Ankita, she is devastated and crying like hell. But one needs to understand everyone has moved on in their life. She has someone in her life now and she has to respect that relationship also. She wanted to go, but everyone knows she is very emotional and sensitive. She is crying and how. When I posted on the Pavitra Rishta group let’s go and see Sushant for the last time, then we got to know that only 20 people can attend the funeral.”
There are trolls who criticised Lokhande for not attending Rajput’s funeral yesterday and how their mutual friend, Mahesh Shetty, missed his call before the actor committed suicide. Talking about the same, Behere said, “Nowadays, you do not know what you will be judged on. People are passing judgment on Mahesh Shetty that it all happened because he did not pick up his phone. People are talking so much about Ankita. They do not even know Mahesh Shetty was the only friend who has stayed in touch with him in all these years. They are blaming him.”
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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