As the year comes to a close, IMDb has announced the list of their ‘Top 10 Most Popular Indian Stars’ of 2022. The list includes the names of several prominent actors from various film industries across India, with Tamil star Dhanush bagging the topping spot.
Bollywood actress Alia Bhatt, who most recently welcomed her first child with husband Ranbir Kapoor, secured the second spot, while the Ponniyin Selvan star Aishwarya Rai Bachchan bagged the third spot on the list that IMDB shared on Wednesday.
What makes IMDb’s most popular Indian stars list for 2022 even more interesting is the fact that six out of the top ten stars, including Ram Charan, Samantha Ruth Prabhu, NTR Jr, Allu Arjun, and Yash, are not from Bollywood but south Indian film industries.
Tollywood actors Ram Charan and Samantha Ruth Prabhu have been ranked at the fourth and fifth slot, respectively. Bollywood actors Hrithik Roshan bagged the sixth spot while Kiara Advani came at seventh. NT Rama Rao Jr, who impressed everyone with his captivating performance in SS Rajamouli’s RRR, took the eighth slot while Tollywood star Allu Arjun and Sandalwood star Yash took the ninth and tenth slots, respectively.
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While Dhanush had five films released this year, including the ‘Russo Brothers' The Gray Man alongside Ryan Gosling and Chris Evans and the Tamil blockbuster Thiruchitrambalam in addition to Naane Varuven and Vaathi, Alia Bhatt featured in three hit films including Gangubai Kathiawadi, Darlings, and Brahmastra Part One: Shiva in 2022.
The actress told IMDb in a statement, “2022 has by far been the most memorable year I have had at the movies. I am forever thankful and grateful for the love the audience gave all my films this year and feel honoured to have collaborated with our country’s finest filmmakers and artists. IMDb is a true testament to the people’s voice and I hope I can continue to entertain the audience for as long as I face the camera! Love and light. Thank you once again.”
Keep visiting this space over and again for more updates and reveals from the world of entertainment.
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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