The Indian government's proposal to amend the Cinematograph Act is another blow to the film fraternity and will potentially endanger freedom of expression and democratic dissent, says a letter signed by several prominent figures from the industry such as Vishal Bhardwaj, Mira Nair and Pa Ranjith.
The letter, with more than 3,000 signatories, was sent to the Information and Broadcasting Ministry on Friday. The ministry has asked the general public to send their comments on the draft bill by July 2.
On June 18, the government of India had sought public comments on the draft Cinematograph (Amendment) Bill 2021 which proposes to penalise film piracy with a jail term and fine, introduce age-based certification, and empower the Central government to order recertification of an already certified film following receipt of complaints.
The letter says the proposed amendments would render filmmakers “powerless at the hands of the state as more vulnerable to threats, vandalism and intimidation of mob censors”.
“As another blow to the film fraternity, the Ministry of Information and Broadcasting has proposed new amendments to the Cinematograph Act under which the Central Government would have the power to revoke or recall certification of films which have already been cleared by the Censor Board,” the letter reads.
"Undermining the sovereignty of the Censor Board and the Supreme Court, this provision will effectively give the Central Government supreme power over cinema exhibition in the country potentially endangering freedom of expression and democratic dissent," it adds.
The signatories to the letter include filmmakers, actors, cinematographers and writers from across the country such as Anurag Kashyap, Vetri Maaran, Farhan Akhtar, Shabana Azmi, Hansal Mehta, Rakeysh Omprakash Mehra and Rohini Hattangadi as well as prominent names from Malayalam, Tamil, Kannada, Assamese and Bengali cinema. These include Rajeev Ravi, Venu, Lijo Jose Pellimery, Balaji Tharaneetharan, Thiagarajan Kumararaja, Fowzia Fathima, Jayathirtha B V, Supriyo Sen, Suman Mukhopadyay and Bhaskar Hazarika.
Film collectives such as the Ektara Collective and Women in Cinema Collective (WCC) have also signed the letter. Filmmaker Prateek Vats, one of those who drafted the statement, told PTI that the proposal to give the revisionary power to the union government would be a "bad step" and the letter was an attempt from the film industry to register their participation. "… you're decreasing the confidence in the institutional body which the CBFC is. It is important for the film fraternity to raise their concerns and put down their suggestions," Vats said.
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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