Veteran filmmaker Mani Ratnam is celebrating his 67th birthday today. He is presently riding high on the thunderous success of his latest directorial Ponniyin Selvan. However, Ratnam has several blockbuster films to his credit. Let’s look at his top 5 widely popular films that one can watch several times.
Roja
Fronted by Arvind Swamy and Madhoo in lead roles, Roja is considered one of the finest films by Mani Ratnam. The film had music by AR Rahman, and some of its songs are popular even today. The film hit screens in 1992 and turned out to be an instant hit at the box office. In addition to the original Tamil version, the Hindi version of the film also did phenomenal business. The film has an 8.1/10 rating on IMDB.
Bombay
Yet another masterpiece from Ratman, Bombay featured Arvind Swamy and Manisha Koirala on the cast and told a beautiful love story set against the backdrop of the communal riots in Mumbai. Bombay was a pan-India hit, with AR Rahman’s music being one of the highlights of the film. The film won several awards including the National Film Award for Best Feature Film in Hindi. It enjoys an 8.1/10 rating on IMDB.
Dil Se
Dil Se, which hit screens in 1998, did not set the box office on fire when it released but has attained cult status over the years. The film starred Shah Rukh Khan and Manisha Koirala in lead roles and marked Preity Zinta’s acting debut. This was Ratnam’s first out-and-out Bollywood film and is having 7.5/10 rating on IMDB.
Guru
Guru, released in 2007, featured Abhishek Bachchan, Aishwarya Rai, and Mithun Chakraborty in lead roles. The film is based on the geographical story of famous businessman Dhirubhai Ambani. Abhishek received an overwhelming response for his performance in the film. Guru enjoys a 7.7/10 rating on IMDB.
Nayakan
Released in 1987, Nayakan featured veteran actor Kamal Haasan on the cast and turned out to be a commercial and critical success at the box office. The action family drama released in Telugu as Nayakudu and emerged as a hit there as well. The film has an 8.6/10 rating on IMDB.
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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