Women in the Hindi film industry, both in front of and behind the camera, have broken the "glass ceiling" and have entered every male bastion, actor Raveena Tandon said on Wednesday during a panel of the 'National Conclave on Mann Ki Baat @100'.
Tandon, the star of the 1990 and early 2000s Hindi cinema, said the film industry should learn from sister mediums TV and OTT (over-the-top) platforms, which are the leaders in paying women better and producing shows with female protagonists, respectively, she said.
"We also talk about pay disparity but in the TV industry today, women are paid much higher than their male counterparts, which is a great thing because of the kind of work they do and I think in our TV industry, women rule. In OTT platforms too, the protagonists are mostly women, women's issues are discussed.
"In the film industry, we are going there slowly but surely because it has been a male-dominated industry since the beginning but there is definitely a change. Our women have broken the glass ceiling, we have entered every male bastion...," the 48-year-old actor said, addressing the 'Nari Shakti' session here.
Tandon said issues such as representation and pay disparity still plague the industry but with women in high places, change is on the way.
"... In the world today, there is a change because all the top positions, be it director of photography, our choreographers, our directors, producers, platform heads, and channel heads are women.
"So the opportunities that we should be getting, we are getting that. A woman being at the helm of producing something, she understands those issues, she understands the sensitivity, she has the sensibilities so we get more opportunities," the Padma Shri recipient said.
Tandon, known for films such as Mohra, Daman, Maatr, and web series Aranyak, said in the '90s Hindi cinema actors would "struggle" to break their perceived image.
"There is a lot of change in the film industry that was not there in the 90s. You would get stereotyped for playing a certain character," she said.
The actor, who won the National Film Award for playing a woman subjected to marital rape in the 2001 film "Daman", said her filmography is a reflection of the social causes she supports.
Tandon said issues such as domestic violence and marital rape were brushed under the carpet and she struggled a lot while bringing out a story like "Daman", directed by Kalpana Lajmi.
"I did not get any acceptance and faced a lot of struggle at that time but the film won the National Film Award and rightfully so because it was a film that was ahead of its time. And 23 years later, we are still discussing it (marital rape) even today." The actor also congratulated Prime Minister Narendra Modi and Prasar Bharti on the 100th episode of 'Mann Ki Baat', the monthly radio programme, which is scheduled to be broadcast on April 30.
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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