Actor Ayushmann Khurrana says his attempt with his film choices is to break societal taboos, but he constantly tries to reinvent himself as he does not want the genre to become formulaic for him.
In films like the Shubh Mangal Saavdhan series, Bala (2019), or his latest Chandigarh Kare Aashiqui(2021), Ayushmann Khurrana has touched upon themes ranging from homophobia, transphobia, premature balding, and erectile dysfunction, with the constant threat of one's identity at its centre.
In an interview with PTI, Khurrana said taboo subjects intrigue him as they are a great "fodder for conversations". "It is important that these subjects are placed in a middle-class, conservative backdrop because otherwise there will be no conflict. If you place any of it in an upper-class, woke household, there will be no conflict. It has to be a regressive, conservative family so that there is some change,” he said.
The actor added, "That conflict invokes humour and eventually gives out a social message in a palatable way. Even if I do a generic film, it has to be a conversation starter, a value addition. Otherwise, what is the fun of doing cinema?"
The 37-year-old actor is aware that many feel films on taboo subjects have become his go-to genre. Khurrana said he does not mind the perception but is careful to not fall into a pattern. "As an actor, my challenge is to regularly break the genre, and that will happen with films like Anek and Action Hero coming up. As someone who feels cinema should be used responsibly, how do we do something different with a taboo subject? It cannot be a formula. In certain films, I am the active part of the subject--like the Shubh Mangal… series while in others, like Chandigarh Kare Aashiqui or Dum Laga Ke Haisha (2015), I am the reactive part. I have to choose the side; I can't always be the same. But it is important to have taboo-breaking subjects on screen. If that is my genre, so be it," he added.
But Khurrana said the task of hunting for braver scripts is a “tedious exercise”. Out of an average of 100 scripts, the actor finds only one interesting material worthy to be translated on the big screen. Much of Khurrana's attempt then is to consistently choose scripts that have the potential to speak to a larger audience.
With many exposed to content from across the world thanks to the streaming platforms, he said it is impossible to be mediocre today.
“The audience today expects nothing but the best. In the past two years, they have watched content from across the world and a lot of good stuff. In the last two years, they have progressed ten years. A certain section has regressed ten years too. There is a dichotomy out there. People will be unforgiving now because they are exposed to international cinema. Vanilla may not work anymore," he added.
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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