Content may be the king now, but for Nawazuddin Siddiqui even films on social issues tend to be as formulaic as mainstream Bollywood movies.
Calling the current trend of socially-relevant movies a "propaganda", the critically-acclaimed actor said many such films generally centre around an issue, but are peppered with the usual tropes.
"They are propaganda films, where you pick up an issue make it like a national crisis, it is not cinema. I don't think so it is cinema. Whether I believe in it or not is another thing.
"People call it content (cinema) but the recipe is same like that of hit Bollywood commercial film, which is five songs, dance, item number. So how can one call them content driven? " Nawazuddin said.
The actor, however, is not averse to signing such films as "that is what is working now."
"Like you take an issue, add five songs and call it content driven, even I have started doing that," he added.
Nawazuddin became an overnight star with Gangs of Wasseypur series and followed it up with performance-oriented films like The Lunchbox, Badlapur, Raman Raghav 2.0, Haraamkhor and at the same time did an array of commercial potboilers like Kick, Raees, Mom, Bajrangi Bhaijaan among others.
The actor believes to keep getting work it is essential for an artiste to have a commercial standing in the film industry.
"It is necessary for an actor to have a commercial standing as then only a film is made, the film runs because of that. The film runs on their shoulder so it is necessary.
"I am doing a lot of commercial films today and that is because I have a market value. The distributors know it very well, they know the market value of an actor, they know why a film is a hit or flop."
Asked about the the perception about independent films not making commercial gains, Nawazuddin said the thinking needs to change.
"Today small films are not flop, as they have alternate platforms like digital. The disaster happens when a big budget film fails, the hero of that film falls down. We don't. While our films, after releasing in theatres when it goes on OTT it recovers the money easily."
The actor was last seen in Motichoor Chaknachoor, a romantic-comedy about a 36-year-old man trying to find a wife. The film, which released on Friday, also features Athiya Shetty.
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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