Apple CEO Tim Cook, on Saturday, praised Indian filmmaker Vishal Bhardwaj and Ishan Khatter's recently released short film 'Fursat'.
Taking to Twitter, Tim wrote, "Check out this beautiful Bollywood film from director @VishalBhardwaj that explores what might happen if you could see into the future. Incredible cinematography and choreography, and all #ShotoniPhone."
Helmed by Vishal Bhardwaj 'Fursat' is a short film shot on an iPhone and stars Ishaan and Wamiqa Gabbi in the lead roles.
The 30-minute short film was released on Apple's official YouTube channel and received positive responses from the audience.
Apple described the film as a magical story about a man so obsessed with controlling the future that he risks losing what he holds most precious in the present.
During the lockdown, many directors across languages have experimented with shooting techniques using advanced technology. Some actor-directors shot themselves, being locked inside a room. Taking this opportunity further, the tech giants have been commissioning notable directors to shoot with smartphones. Vishal Bhardwaj is the latest to join the band.
Vishal, known for his aesthetic sensibility, has played with the theme of time travel in 'Fursat'.
Punjabi actor Wamiqa Gabbi shot to nationwide fame with the Disney Plus Hotstar series 'Grahan' and the Netflix series 'Mai: A Mother's Rage." Ishaan Khatter has proved his acting mettle in the debut film, 'Beyond the Clouds', by Majid Majidi.
He was last seen in 'Phone Bhoot' alongside Katrina Kaif and Siddhant Chaturvedi.
Helmed by Gurmmeet Singh and written by Ravi Shankaran and Jasvinder Singh Bath the film failed to impress the audience at the box office.
He will be next seen in a period war film, 'Pippa' alongside Mrunal Thakur.
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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