Indian Central Board of Film Certification is a body that certifies a film on the basis of its content. A film either gets an ‘A’, ‘U/A’ or ‘U’ certificate from CBFC. Central Board of Film Certification also asks the filmmakers to make a few changes in the film to get a particular certificate. While some filmmakers agree to it, some have fights with CBFC to get a release with the cuts.
Not many films happily get certification from the board. Today, let’s look at the films that faced issues with CBFC.
Bandit Queen
Shekhar Kapur’s Bandit Queen is one of the best films made on bandits in Bollywood. The film received many awards including National Award for Best Hindi Feature Film and Seema Biswas got National Award for Best Actress. But before its theatrical release in India, the movie faced a lot of issues with CBFC because of nudity and a rape sequence in the film. The movie was made in 1994 and finally, in 1996 it was released in India.
Paanch
Anurag Kashyap’s first directorial Paanch is yet to hit the screens. Yes, you read it right. Kashyap is a well-known filmmaker, but his first film never saw the light of the day because of CBFC. The board didn’t certify the film because of the violence, the depiction of drug abuse and bad language in the film. However, Paanch was screened at many film festivals.
Black Friday
Paanch is not the only film of Anurag Kashyap that faced issues with the CBFC. The director’s Black Friday which was based on 1993 Bombay bombings. Made in 2005, the film finally hit the screens in 2007 as CBFC had banned the movie due to the ongoing case revolving around the bombings.
Unfreedom
Director Raj Amit Kumar’s Unfreedom didn’t get a theatrical release in India as CBFC objected certain lovemaking scenes and nudity in the film. Later, the movie was released in North America. The movie was based on the backdrop of homosexuality and Islamic terrorism.
Udta Punjab
CBFC had ordered around 90 cuts in Shahid Kapoor, Alia Bhatt, Kareena Kapoor Khan, and Diljit Dosanjh starrer Udta Punjab. Of course, the makers were not keen on releasing their film with so many cuts. After a lot of legal tussles, finally, Bombay High Court ordered the film’s release with just one cut.
Lipstick Under My Burkha
CBFC gave a very silly reason to ban Konkona Sensharma and Ratna Pathak Shah starrer Lipstick Under My Burkha. The board said it is a ‘too lady oriented film’ because of which they cannot certify it. Like really! However, finally, the Film Certification Appellate Tribunal cleared the movie with an ‘A’ certificate.
Padmaavat
We all know that Sanjay Leela Bhansali’s Padmaavat faced a lot of issues from the religious political groups. Well, the makers showed the film to a few journalists before the certification and CBFC felt that it was a wrong move. Finally, the movie was certified and the makers were told to change the titled from Padmavati to Padmaavat.
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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