One of the primary things in Bollywood is that an actor or an actress needs to look good on the big screen. But to fit in the character, sometimes Bollywood stars don’t mind going de-glam and they actually don’t mind putting some make up that would make them look a few shades darker than their original skin tone.
Today, let’s look at the list of actors who had no qualms in going dark-skinned on the big screen…
Bhumi Pednekar
The first one on the list has to be Bhumi Pednekar. She is undoubtedly one of the most talented and gorgeous looking actresses of Bollywood. But in the recently released flick Bala, Bhumi plays the role of a dark-skinned girl who is confident about herself and doesn’t care about society. Well, the actress has carried the role wonderfully.
Hrithik Roshan
This year, Hrithik Roshan starred in two films, Super 30 and War. While in the latter he made us drool over his looks, in the former, Hrithik played a character we didn’t expect him to play. The actor went a few shades darker for his role in Super 30 and proved that he can even carry a de-glam avatar so effortlessly.
Ranveer Singh
Ranveer Singh is one of the hottest actors of Bollywood. In this year’s release Gully Boy, the actor was seen in a dark skin tone. As Murad, Ranveer impressed one and all, though he was playing a character with slightly dark skin, he still looked damn hot.
Alia Bhatt
Alia Bhatt is one actress who gets into the skin of the character like no one does. In the film Udta Punjab, the actress played the role of a girl from Bihar and was seen sporting the makeup that made her look a bit dark. Well, of course it paid off as she received many awards for her performance in the film.
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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