Known for helming London, Paris, New York (2012) and Waiting (2015), filmmaker Anu Menon is presently awaiting the release of her next directorial offering Shakuntala Devi, a biopic based on the life of renowned mathematician Shakuntala Devi, also known as the Human Computer. While the National Film Award-winning actress Vidya Balan essays the title role, Sanya Malhotra plays her daughter.
The trailer of the much-awaited biographical drama hit the internet a couple of days ago and amassed millions of digital views in no time. Before the makers dropped the trailer, many people had this thought in mind that the film will be quite serious in tone.
Menon says that her film, just like the personality it is based on, defies the stereotype that mathematicians are serious. "If there was any mathematician who could be a Bollywood heroine, it is Shakuntala Devi. We like to put people in a box and if something is shown to them which is outside of that box, they get confused because in their heads, mathematicians are serious,” she tells a newswire.
Menon says that Shakuntala Devi was in complete contrast to another famous Indian mathematician, Srinivasa Ramanujan. "Shakuntala Devi was the opposite of Ramanujan. She has been performing on stage from the age of five. For her, her mathematics was drama. She wore her heart on her sleeves, so everything was so dramatic. So, the line in the trailer, 'we Indians are like that only, drama or nothing' is there for a reason. We have not tried making it look like a Bollywood film,” she says.
The director goes on to add that Shakuntala Devi aligns with her attempt to chronicle women on screen who are not “one-note”. “I feel it is important to have some positive reinforcements on-screen. I have always been passionate about how to show women on the screen."
Menon reveals that she decided to make a film on Shakuntala Devi after she heard her nine-year-old daughter say that girls like English while boys gravitate towards mathematics. "That's when I thought to make a story on Shakuntala Devi and found Anupama Banerjee, her daughter, who also lives in London. We met for coffee and the meeting lasted for six hours. This was in 2016 and her mother had passed away in 2013."
Menon returned from the meeting with a fresh perspective about the wizard and an insight into her fractured relationship with her daughter. “I found this daughter who was grappling with this big void in her life. Imagine having this larger-than-life mother, with whom you've had a tumultuous relationship... I felt this is a perspective we need to take. This is what made her human,” Menon says.
"We brought mathematics and motherhood together and that's the narrative to see. It's unflinching because I can't put people on pedestals even in real life. Most biopics are puff pieces because of the kind of freedom you get. But her daughter was ready to go into that space. The film is about this genius who embraced the good and the bad and lived life unapologetically," she adds.
Shakuntala Devi is scheduled for its premiere on 31st July on Amazon Prime Video.
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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