Anurag Kashyap has come onboard to produce Indian filmmaker Suman Sen’s directorial debut Eka (Solo) under his banner Good Bad Films. Set in Kolkata, the project is currently at the scripting stage.
Eka was selected as one of the participants at La Fabrique Cinéma de l’Institut Français 2021, a tailored program helping talented young directors from emerging countries increase their international exposure, as part of the Cannes Film Festival.
The revolves around Biplab, a 56-year-old long-term diabetic insurance agent, who sees a huge human toe of a massive under-construction statue in the middle of the main city square every morning on his way to his office in a crowded bus. Fully covered in blue tarpaulin, the statue is supposed to represent the Common Man. The city is keenly waiting for the President to inaugurate the monumental statue.
When everything starts going wrong in his life, the feeling that he failed his loved ones the same way society is failing him grows stronger. His guilt transforms into anger and he finds himself giving birth to a mass revolt in his own city. His resistance gives rise to a powerful worldwide movement.
Aside from Kashyap, France’s Dominique Welinski (House of my Fathers) is also attached to produce via outfit DW, as are Bangladesh’s Arifur Rahman and Bijon Imtiaz through their company Goopy Bagha Productions (Kingdom of Clay Subjects).
“It is a joy to find something where you can actually collaborate — the power of the idea, the script, and that filmmakers from France and Bangladesh and India can come together and make the film makes me very happy to come aboard. I am very happy to be able to see this film happen,” Kashyap told Variety.
“This is really a special moment and undoubtedly the pinnacle of our journey so far. I am glad that the story has connected so many people from across the world. Anurag’s presence will give an impetus to kick off our next level of production and help us while mounting the film on the desired canvas,” said Sen.
Eka, which has previously participated in the Film Bazaar, Goa, in 2019 and at Torino Next in 2020, is set to begin filming in mid-2022.
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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