Netflix, Amazon Prime, Alt Balaji, and many other OTT platforms are ruling the digital world right now. It has also become a new medium for actors to explore and try something new and unique. So, today let’s look at some of the biggest names from Bollywood who have made a mark in the digital world.
Saif Ali Khan
It was last year when Saif Ali Khan made his digital debut with Netflix’s Sacred Games. It is one of the most popular web series and soon we will get to see season two of it. Saif as Sartaj Singh impressed one and all in the series.
Nawazuddin Siddiqui
Nawazuddin Siddiqui played the antagonist in Sacred Games and with his character of Ganesh Gaitonde, he once again proved that he is one of the best actors we have.
Radhika Apte
Radhika Apte is undoubtedly one of the most talented actresses we have in Bollywood, but unfortunately, Hindi filmmakers have not yet explored her talent properly. However, in the digital world, Radhika ruled with Sacred Games and Ghoul.
R Madhavan
R Madhavan is mainly known for his chocolate boy characters, but it was a surprise to see him in Amazon Prime’s Breathe. The actor played a grey character and nailed it.
Rajkummar Rao
Rajkummar Rao starred in Alt Balaji’s Bose which showcased the story of Subhash Chandra Bose. The actor’s performance in the series was simply outstanding.
Nimrat Kaur
The Test Case is undoubtedly one of the best web series you would have ever seen. Nimrat Kaur, unfortunately right now is not seen on the big screen much, but she is an actress par excellence and proves herself in The Test Case.
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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