Filmmaker Pushpdeep Bhardwaj is presently basking in the success of his Voot Select show Ranjish Hi Sahi, which recently opened to glowing reviews.
Starring Tahir Raj Bhasin, Amrita Puri, and Amala Paul in principal characters, the eight-episode show revolves around the theme of love, ambitions, and infidelity.
Recently, Eastern Eye caught up with Bhardwaj and tried to know more about Ranjish Hi Sahi, how he conceived the show, the experience of creating the era of Hindi cinema of the 70s, and much more. Read on…
I would like to begin by asking: what made you fall in love with cinema?
I was in 3rd standard when I watched a film for the first time. It was Mera Naam Joker (1970) and I watched it with my father. After watching the film, I told my father that I would also make films one day. It sounds very filmy, but it is true. That’s how I fell in love with cinema.
How did you get into the business? Is direction what you've always wanted to do?
The realisation that I wanted to be a filmmaker came only after I shifted to Mumbai. I was doing my college back then. Before that, I had done theatre for many years in Delhi. I always knew that I could write and tell a story.
Pushpdeep Bhardwaj on the sets of Ranjish Hi Sahi
What kind of response have you been receiving for your Voot Select show Ranjish Hi Sahi?
The response has been terrific so far. Everyone is raving about the show. I have not come across anyone who has not liked it and said, “You have directed a bad show. Why don’t you go back to Delhi? (Laughs) It is an emotionally charged show and people are hooked till the very end of it.
How did you come about conceiving the show?
An idea is what matters the most. When I was in Vishesh Films, Mahesh Bhatt saab gave me this idea. I was instantly hooked and decided that I would definitely work on it someday. Bhatt saab gave me a go-ahead and that’s how Ranjish Hi Sahi came into being.
How exciting was it to take a trip down memory lane by revisiting the era of Hindi cinema of the 70s?
It was very exciting. From direction to production, our entire crew was pretty young, so none of us had actually lived in that era. We all were new guns. So, for us, to visit that memory lane was extremely exciting.
Pushpdeep Bhardwaj with Amrita Puri and Amala Paul
The trailer reminded me of such films as Arth and Woh Lamhe. Is Ranjish Hi Sahi set in a similar world?
We all have seen so many versions of Devdas and liked them all. I won’t deny that the topic of infidelity has not been explored before in Hindi cinema, but the way I have treated my story and presented it to the audience is entirely different. There are multiple characters here. It is a very layered show. Every character has several nuances and an array of emotions that they go through. I had the liberty of telling my story in eight episodes, something that you cannot do with films. Unlike films, you can explore parallel tracks in web shows because films have a limited time period of 2 or 2:30 hours maximum. With web shows, you can tell your story in ten episodes also.
How was it to work with Tahir Raj Bhasin, Amrita Puri, and Amala Paul?
Amazing. They are exceptional talents. I am fortunate to have the perfect casting for my project, all credit goes to my casting director Vaibhav Vishant who is from Anti-casting. We took a lot of auditions, met a lot of actors. I am blessed to have worked with Tahir Raj Bhasin, Amrita Puri, and Amala Paul in Ranjish Hi Sahi.
Which is your favourite love triangle film from Bollywood?
See, I come from a generation where Shah Rukh Khan was everything. I loved his film Kuch Kuch Hota Hai (1998).
What is your message to those who have not watched the show yet?
It is an interesting show and we all have put our heart and soul into creating it. I request everyone to please take some time out and watch it. Also, do not forget to share your feedback with me.
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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