Deepika Padukone stunned everyone by opening up to her experience with depression. During an event, Deepika Padukone spoke about her struggles with depression, she said, "I never thought about what people are going to think of me, will I be offered films or whether it will affect my popularity."
Deepika Padukone has set up a foundation that spreads awareness about depression. "With the help of the foundation, we want to change the narrative around mental health in India. Why only Bollywood? We want everybody in influential positions in the country to speak out about these issues," said Deepika.
Deepika added, "Now that you’re asking me, maybe I should have since I just delivered a 300-crore hit (Padmavat). But no, I never thought about what people will think of me, or how it would affect my work or if I would be offered any films. None of these thoughts ever crossed my mind."
"I was only thinking about how I felt about the issue: There was a lot of stigma attached to it. I thought if I could save even one life by sharing my story, everything I set out to do would make sense. And today, when I see the kind of impact we’ve had in the lives of thousands of people, it is very gratifying," added the actress.
"Considering how deep-rooted this issue is, in terms of the stigma attached to it, the reluctance to seek help, or people’s perception towards those with mental illness, we still have a long way to go. India needs to focus on encouraging people to seek help,” she further explained.
Deepika mentioned that it brings a relief from the stress by sharing one’s personal experience with depression. She said, "I think it eventually boils down to each person’s comfort level, how comfortable or confident they are about sharing their experience. I can say that it is extremely empowering once you share your journey, you kind of feel a weight off your shoulders, I mean that’s my personal experience."
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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