Sonakshi Sinha started her career in 2010 with Dabangg. The movie was a blockbuster at the box office and after that Sonakshi starred in many super hit films like Rowdy Rathore, Son of Sardaar, Dabangg 2, R… Rajkumar and others. But in all these films Sonakshi didn’t have much to do. She played the typical Bollywood heroine who apart from some scenes and some dance numbers had nothing else to do.
However, soon Sonakshi turned her ways towards some performance-oriented roles. Sona celebrates her 32nd birthday today, so let’s look at five films of Sonakshi Sinha in which she proved her mettle as an actress.
Lootera
It was in 2013 when we came to know that Sonakshi Sinha is a fantastic actress and how she was wasted in all her previous films. The actress starred in Vikramaditya Motwane’s Lootera opposite Ranveer Singh and gave an amazing performance in it as Pakhi. She received her first Filmfare Best Actress nomination for Lootera.
Akira
After Lootera we expected that Sonakshi will be seen in more performance-oriented roles, but it took three years for a filmmaker to cast her in a character that would make her shine as an actress. In 2016, Sonakshi starred in Akira and for the first time, we got to see her doing some action on the big screen.
Noor
In 2017 release Noor, Sonakshi Sinha played the role of a journalist wonderfully. It is clearly one of her best performances and the underrated one as well. However, unfortunately, the film didn’t do well at the box office.
Ittefaq
In 2017 itself, we got to see Sonakshi Sinha giving one more great performance in Ittefaq. The movie was a remake of 1969 film with the same name. Sonakshi stepped into the shoes of Nanda and once again impressed one and all with her performance.
Kalank
In Kalank, Sonakshi played a supporting role and of course, her fans were a bit disappointed as they expected more screen time of her. However, in her minimal screen time, Sonakshi performed very well and proved that she doesn’t need a full-fledged role to prove her talent.
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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