Raveena Tandon has been in the industry for three decades. She was one of the most successful actresses in the 90s and has balanced her career by featuring in commercial masala entertainers as well as in movies that gave her immense scope to perform and showcase her acting talent.
Today (26th October 2021), Tandon celebrates her 47th birthday, so let’s look at the list of songs of the actress that will instantly make you miss the 90s…
Tip Tip Barsa Pani (Mohra – 1994)
If we talk about songs of Tandon from the 90s we have to start the list with Tip Tip Barsa Pani from the movie Mohra. It is clearly one of the most seductive songs we have seen in Bollywood and Tandon looked super hot in that yellow saree. Her sizzling chemistry with Akshay Kumar was the highlight of the song.
Tu Cheez Badi Hai Mast Mast (Mohra – 1994)
Here’s one more song on the list from Mohra. Tu Cheez Badi Hai Mast Mast is undoubtedly one of the most famous tracks of Tandon. After the song was released she was called the Mast Mast Girl of Bollywood. Tandon’s thumkas surely stole our hearts.
Shehar Ki Ladki (Rakshak – 1996)
Tandon was undoubtedly one of the most glamorous actresses of the 90s. In the track, Shehar Ki Ladki from Rakshak, we got to see her donning different avatars, and we have to say that she carried all the looks perfectly. Also, in the track, her dance moves were damn good.
Akhiyon Se Goli Mare (Dulhe Raja – 1998)
Govinda is one of the best dancers we have in Bollywood and his expressions are always perfect. When Tandon and Govinda teamed up for Dulhe Raja, we all expected some good songs in it and were not disappointed. The track Akhiyon Se Goli Mare is one of the most popular tracks of both the actors and we still love to watch the song.
Kisi Disco Mein Jaaye (Bade Miyan Chote Miyan – 1998)
After Dulhe Raja, in the same year (1998), Govinda and Tandon were seen together in Bade Miyan Chote Miyan. The song Kisi Disco Mein Jaaye from the movie was a chartbuster and the hook step of the track was a rage.
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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