After sexual harassment allegations against Vikas Bahl, the filmmaker was told to step down as the director of Super 30. It was said that the shooting of the film is complete and Anurag Kashyap will look into the editing and post-production of the movie. However, Nandish Singh Sandhu, who plays a pivotal role in the film, has revealed that Anurag Kashyap shot a few portions of Super 30 including the climax.
During an interaction with us, when we asked him which directors he would like to work with, the actor said, “I think Nitesh Tiwari ji (Dangal fame), he is one director that I would really want to work with. I met him also once and he was there for the screening of Super 30 as well. But I do have more directors I really look forward to working with. There’s Nitesh ji, Rakeysh Omprakash Mehra, Raju Hirani. There are new directors like Nitin Kakkar. I have seen his films; he has got a great sense of filmmaking. Anurag Kashyap, he has directed some portions of this film (Super 30) as well.” When probed him if Anurag directed the climax of the film, Nandish said, “Yes.”
Watch the interview here…
While talking about if he was worried that his debut film is embroiled in controversies, Nandish told us, “No, I don’t think so. But even if the thought came it just disappeared in seconds. Nobody was affected; everybody was just working towards the film. It never came on the sets that this has been printed or this has been spoken about him. It didn’t bother anybody because we were just working towards the film, everybody was doing their jobs, we were working on our characters, other departments were doing their job and we were all sure that a good film and a great film is being made because any sort of distraction would spoil the product. So, everybody was very clear as to what we need to do.”
Well, just a few days before the release of Super 30, Vikas Bahl was given a clean chit in the allegations against him and was also credited in the film as the director. Starring Hrithik Roshan in the lead role, Super 30 has turned out to be a hit at the box office.
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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