The lockdown period has given people an opportunity to try their hands at things which they never thought they were able to do. Making the most of the free time, our beloved celebrities are also channelling their creativity and attempting new things within the confines of their homes.
After portraying the character of a chef in Ekta Kapoor’s successful webseries Coldd Lassi Aur Chicken Masala (2019), popular television actress Divyanka Tripathi is busy preparing new recipes in her kitchen these days.
From Indian dishes like Kashmiri Pulao and Paneer Tikka to Thai food, Divyanka is making the most of her free time in making delicious recipes. She is even sharing some tutorial videos on her YouTube channel, which are getting quite popular.
Talking about her culinary experience, Divyanka tells a publication, “I never used to get time to cook before the lockdown, but now I am really enjoying, making different dishes for Vivek and me.”
The actress goes on to add that she got to learn a lot of things while shooting for her web-show Coldd Lassi Aur Chicken Masala. “I got a chance to learn a lot about cooking and its technicalities while I was shooting for Coldd Lassi Aur Chicken Masala. Playing the role of a chef taught me the basics of it and being in love with Vivek inspires me to create delicious surprises for him.”
Divyanka says that cooking different dishes gives her a sense of piece. “Recently, channelizing my inner chef, I made mouth-watering Chole Tikki and uploaded its tutorial video on my YouTube channel. In these difficult times, spending time with Vivek and cooking different dishes gives me a sense of peace. I hope that my fans too make the most of their time cooking some recipes that they can eat as they watch the show,” she says in conclusion.
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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