Journey around the world with 20 memorable hindi film songs shot at exotic locations
By ASJAD NAZIR Mar 24, 2023
BOLLYWOOD has been shooting eye-catching films around the world ever since the 1950s and continued that trend with newly released Scandinavia set drama Mrs Chatterjee Vs Norway.
That Norway set drama combined with recent romantic comedy Tu Jhoothi Main Makkaar being partly shot in Spain, and everyone looking ahead to their summer holidays, inspired Eastern Eye to take an international cinematic musical journey.
With that in mind, here is a whirlwind trip around the world with 20 Hindi movie tracks shot at top locations spread around the globe.
France - Aasman Se Aaya Farishta from An Evening In Paris (1967): The first commercial Hindi film to be shot almost entirely in France is filled with fantastic musical numbers, which capture the country’s beauty. This song became particularly famous because it had Sharmila Tagore water-skiing in a bikini, which was ground-breaking at the time. Shammi Kapoor brilliantly woos her from a helicopter and then on the water.
An Evening In Paris
Holland - Dekha Ek Khwab from Silsila (1981): Ace director Yash Chopra offered up this colourful love song shot amongst Dutch tulips, picturised on Amitabh Bachchan and Rekha. Many tried creating songs in amongst flowers, but few could match this iconic musical moment. Around the same time, Raj Kapoor shot his Prem Rog (1982) song Bhanware Ne Khilaaya Phool in the same setting, with extra aerial shots.
Switzerland - Mitwa from Chandni (1989): During the 1990s, Switzerland became the most popular international destination for Bollywood songs. Director Yash Chopra kick-started the craze with songs from this romantic drama. This beautifully shot song featuring Rishi Kapoor and Sridevi captured the stunningly scenic country, which would become a popular tourist destination for Indians. Yash Chopra would return with multiple movies like Darr (1993) and Dilwale Dulhania Le Jayenge (1995).
Chandni
Spain -Khwabon Ke Parindey from Zindagi Na Milegi Dobara: The lovely song featuring the lead cast made everyone want to take a road trip through Spain with their best friends. The top tune plays as they drive on a winding road through scenic settings of beautiful landscapes. Recent Pathaan (2023) song Besharam Rang also shot a song in Spain and made us want to holiday there.
Greece - Tauba Tumhare Yeh Ishaare from Chalte Chalte (2003): Greece has always been a popular holiday destination with Europeans, but after this terrific tune Hindi film fans flocked to the scenic country. The unmistakable Greek architecture, sweeping views, sunshine and dream like setting provide a perfect backdrop for Shah Rukh Khan and Rani Mukerji.
Italy -Do Lafzon Ki Hai Dil Ki Kahani from The Great Gambler (1979): This song shot on the romantic canal-ways of Venice saw Amitabh Bachchan and Zeenat Aman drift along gently in a gondola. It oozed romance from start to finish and inspired Bollywood fans to visit the watery city after the song was seen in cinemas.
Honourable mention also to Ghungroo from War (2019), which was shot on the stunning beaches of Positano on the Amalfi Coast.
The Great Gambler
Egypt -Suraj Hua Maddham from Kabhi Khushi Kabhie Gham: Seeing arguably the greatest modern day romantic onscreen couple Shah Rukh Khan and Kajol performing a love song in deserts filled with pyramids gave everyone the feels. The superb song seamlessly combined with a scenic setting in the 2001 record-breaking film.
Special mention to Teri Ore from Singh Is Kinng (2008), which was also shot in a similar space.
Kabhi Khushi Kabhie Gham
Ghajini
Namibia -Guzarish from Ghajini (2008): The gritty action thriller had this deeply romantic song shot in the Deadpan desert, Namibia. It has a great contrast of two lovers, played by Aamir Khan and Asin, in colourful costumes in a baron setting, providing a perfect metaphor for a song about yearning. Die-hard Bollywood fans have visited the same desert and uploaded videos on YouTube of their adventure.
South Africa - Kar Har Maidaan from Sanju (2018): A lot of Bollywood films have suddenly transported audiences to South Africa for a song, including the London set romantic comedy Cocktail (2012). For his blockbuster biopic Sanju, ace director Raj Kumar Hirani got Ranbir Kapoor and Manisha Koirala to be part of this song on the beautiful mountainous coasts of Cape Town in South Africa.
Mauritius - Jeene Ke Hain Chaar Din from Mujhse Shaadi Karogi (2004): The forgotten seventies film Chandi Sona (1977) was the first from Bollywood to be shot in Mauritius. The country has since become a favourite for film shoots and holidaying Indian film stars. This comedy made full use of the beautiful beach setting with songs like this featuring Salman Khan and Priyanka Chopra Jonas.
Mujhse Shaadi Karogi
Love In Tokyo
Japan -O Mere Shah-E-Khuba from Love In Tokyo (1968): This romantic comedy was the first Hindi movie shot primarily in Japan and attempted to capture the cultural landscape through this technicolour track. Both versions of this heartfelt love song picturised on Joy Mukherjee and Asha Parekh captured the visual loveliness of the Japanese landscape.
Thailand -Kaho Naa Pyaar Hai title track (2000): The terrific title track of this blockbuster hit was shot in Khao Phing Kan, Thailand, which is popularly known as James Bond Island. Hrithik Roshan and Ameesha Patel brought the beach setting beautifully to life. Real couples rushed to the same location to film themselves performing the same song.
Kaho Naa Pyaar Hai
Singapore - Tum Lakh Chhupana Chahoge from Singapore (1960): One of the first full-length feature films shot outside India, captured great snapshots of Singapore through songs like the title track and Dekho Ji Dekho. Perhaps the catchiest song was this romantic duet featuring Shammi Kapoor and Padmini.
Koi Tumsa Nahin from Krrish (2006) would shoot in Singapore, 46 year later.
Salaam Namaste
Australia -Salaam Namaste title track (2005): Hindi cinema can’t resist a great beach. The first Bollywood film to be shot entirely in Australia had marvellous musical moments, including the feel-good title track shot on a sunny beach. Lead stars Saif Ali Khan and Preity Zinta take centre-stage in a song filled with scantily clad backing dancers.
New Zealand - Sadka from I Hate Luv Storys (2010): Standout Kaho Naa Pyaar Hai song Na Tum Jaano Na Hum was shot at beautiful locations in the country. Another top track that really captured the vast untouched beauty of New Zealand, like the snow-covered mountains was this one featuring Imran Khan and Sonam Kapoor.
I Hate Luv Storys
Brazil - My Name Is Ali from Dhoom 2: The first Bollywood film to be shot in Brazil had this track featuring Uday Chopra and Bipasha Basu. The song wasn’t very good, but it took in all the sites of Rio De Janeiro and broke new ground for Bollywood in South America. The much better song Dil Na Laga was also shot in Rio, but it was at night in a single location, without much of the background showing.
America -Yeh Dil Deewana from Pardes (1997): There have been a lot of films shot in America with memorable musical moments, including Kabhi Alvida Naa Kehna (2006) and My Name Is Khan (2010). But who can forget Shah Rukh Khan driving during this road trip anthem. This film was one of the first to show Bollywood audiences great glimpses of USA. He even flies on a bungee rope for good measure.
Cuba - Laapata from Ek Tha Tiger (2012): The action thriller had eye-catching locations, including the song Banjaara shot in Ireland, but the path-breaking moment was this song picturised on Salman Khan and Katrina Kaif. It was the first commercial Bollywood film to shoot in Cuba, with this Latin inspired song that captured stunning snapshots of Havana and its old-world charm.
Ek Tha Tiger
Canada -Haila Haila from Koi Mil Gaya (2003): The spectacular sci-fi film had some stunning locations, including for this song featuring Hrithik Roshan and Preity Zinta. The great looking number blends beautifully with the lovely lakes, vast forests, and mountains that Canada is famous for.
Dilwale
Iceland - Gerua from Dilwale (2015): Pretty much the only thing Bollywood fans remember about the mega-budget action-comedy is the wonderful song shot in the scenic settings of Iceland. The romantic number picturised on Shah Rukh Khan and Kajol is a visual feast with multiple locations and added Iceland as a holiday destination for so many, including couples trying to recreate the scenes.
With the release of Pia’s Pet Club: Puppy Problem on 8 May, award-winning author Serena Patel brings young readers a heartwarming new series that combines humour, friendship, and cultural representation. Known for her Anisha, Accidental Detective books, Patel spoke to us about her inspiration, the writing process, and why visibility in children's literature matters.
From PowerPoint slides to pet chaos
The origins of Pia’s Pet Club are rooted in a familiar family negotiation. Patel recalls, “My son was trying to persuade us to get a bigger pet. He made PowerPoint slides, showed us TV programmes, did all his research. Eventually we gave in—and now we have two ragdoll cats.”
That experience inspired Pia, a young girl desperate for a pet of her own. When her parents say no, Pia sets out to prove she’s responsible by helping her friend Hari train his unruly puppy, Luna. Predictably, chaos follows—and so does the idea of forming a pet club.
One of Patel’s favourite scenes to write involved a spectacularly failed attempt to train Luna. “It was really fun to write. The kids think it’ll be easy, but the dog has other ideas,” she laughs.
A heroine with heart and flaws
Pia is Patel’s latest strong-willed lead character. “She doesn’t always get it right, but she’s trying her best,” she says. “She’s flawed and real, just like any child.”
Patel, who grew up in a South Asian household, shares that she never saw herself in books as a child. “I never came across South Asian characters in funny stories. Seeing yourself in a book gives you a sense of belonging—it’s validating,” she explains. Pia’s cultural background is woven naturally into the narrative, from home-cooked meals to family dynamics and familiar words.
A visual world, brought to life
The illustrations in Pia’s Pet Club are by Emma McCann, who has worked with Patel for several years. “Emma’s brilliant. It’s like she has a camera inside my brain,” Patel says. “She adds humour and detail that isn’t even in the text. It’s a real collaboration.”
Set in the communal garden of an apartment block, the book explores the power of community, teamwork, and belonging. Patel describes it as a departure from the mystery genre that defined her previous work. “This one feels more like a warm sitcom—funny, but full of heart.”
The first book took nearly three years to develop, from idea to finished manuscript. “There were moments I doubted myself, but I wanted to make it the best it could be,” she admits.
What's next for Pia?
The series is already expanding. The second book, The Secret Kitten, is due in January 2026, and the third, Guinea Pig Showtime, will follow in July 2026. Readers can expect more mishaps and humour as Pia and her friends take on new pet-related challenges, including a pet talent show.
From page to screen?
With Anisha, Accidental Detective in development for television by BBC Studios Kids & Family—featuring Emmy-winning actress Archie Panjabi as executive producer—it’s no surprise that Patel has considered a screen future for Pia as well.
“It’s the dream,” she says. “The setting, the characters, the themes—they’d all work brilliantly on screen.”
Ahead of the launch, Patel is preparing for a number of school visits and events. “It’s a new series. You never know how it’ll be received,” she says. “But the early feedback has been great.”
For readers young and old, Pia’s Pet Club offers a story of determination, friendship, and cultural pride. “Books are powerful. They stay with us,” Patel says. “And if Pia makes just one child feel seen or brings a smile to their face, then I’ve done my job.”
Saxton Bampfylde has announced the appointment of Jonathan Badyal as senior advisor to its arts, culture and creative industries practice. The firm, which has supported this sector for nearly four decades, works with some of the world’s most respected cultural organisations on senior leadership appointments.
Badyal brings a wide breadth of experience across the creative industries, including roles in both the public and private sectors. He is currently a partner at Trafalgar Strategy, a global advisory firm, where he provides strategic and communications counsel to CEOs and leading creatives. With a particular interest in India, Badyal is also working to develop the UK’s cultural ties with the country, exploring opportunities for collaboration in the arts and creative sectors.
During his career, Badyal spent eight years at Universal Music UK, most recently serving as director of communications. In this role, he managed key relationships across the creative industries and government. Prior to this, he spent five years advising the UK government’s culture and digital minister, gaining deep insight into arts and creative industries policy.
His board roles include deputy chair at the Black Country Living Museum and interim chair of the National Academy for Social Prescribing. He has previously served on the Tate Modern advisory group and was recently listed in the PRWeek UK Power Book 2025.
Saxton Bampfylde’s arts, culture and creative industries practice has partnered with a wide range of organisations across the sector, including the National Theatre, British Museum, V&A, BBC, SXSW, and the GRAMMYs. The firm has also worked with a number of prominent theatre institutions, including the Almeida Theatre, Trafalgar Entertainment, Punchdrunk, Young Vic, Sheffield Theatres, Birmingham Rep and Pitlochry Festival Theatre.
Ed Bampfylde, head of the arts, culture and creative industries practice, said: "We are thrilled to welcome Jonathan to our team. His breadth of experience across the creative industries gives him a unique perspective that will be invaluable to our clients. Jonathan's commitment to the sector, coupled with his vision and depth of understanding of the evolving creative landscape, perfectly complements our mission to identify and support transformative leaders."
Commenting on his appointment, Badyal said: "I’ve always had a real passion for putting people together, particularly when it comes to boards and CEOs looking for exceptional individuals who can bring something different to their organisations. I’m delighted to now be doing this in a formal capacity, advising the team at Saxton Bampfylde as they continue to work with some of the world’s most important organisations in sectors I care so deeply about."
BITING POINT is “a desire to find goodness in a difficult and uncertain world,” its British Indian playwright has said, adding that he hopes it will resonate with audiences in Hull and beyond.
Written by Sid Sagar, the play is a sitespecific production performed in car parks and examines how anger can turn good people ugly.
“The play is deeply rooted in examining how anger can transform ordinary people – individuals simply going about their lives, dealing with everyday stresses that audiences will relate to, whether that’s work pressure, family stress or relationships not functioning as well as desired.
“It also explores how being caught in city centre traffic and congestion in Hull can affect people’s temperament,” Sagar told Eastern Eye in an interview.
He added, “In recent years, particularly during and since the pandemic, there has been a general rise in rage among the public. This anger partly stems from the less formalised, less polite conduct we now see in mainstream politics, which trickles down to ordinary people who feel so disempowered and disenfranchised that venting – often in problematic ways – seems their only recourse to be heard.”
Directed by Paul Smith, Biting Point centres around a road accident and its knock-on effects. John (played by Marc Graham), a white British delivery driver, and Anita (Katie Singh), a British south Asian property manager, have grown up in the same city with both similar and differing experiences and frustrations of keeping pace with modern life. When they collide at a roundabout in relentless rush-hour traffic, their frustrations and anger boil over, leading them to react in ways they never thought possible.
Biting Point’s running time will be 75 minutes without an interval.
“The unique aspect of this production is that it’s touring to car parks of various shapes and sizes rather than conventional theatres. The actors will perform live, while audience members entering the car park will be given headsets through which they’ll hear poems and thoughts from local artists before the show begins. Suddenly, viewers will be thrust into the characters’ world, who sometimes communicate with each other, but more often replay memories, telling us about various interactions with important people in their lives,” said Sagar, who took four years to write the play.
“Through the headphones technology, audiences will experience numerous characters and an entire world of voices, adding to the sense of people being weighed down by information overload. This overwhelming nature of societal demands fuels the rise in rage, or at least creates a sense that people don’t quite know how to manage stress, which, if left unaddressed, can quickly develop into something more worrying.”
In his opinion, without the conventional “fourth wall” of darkened theatres, actors will directly engage with viewers, creating an immediate connection that makes the audience feel part of the storytelling process.
According to Sagar, the novel approach of performing the play in car parks emerged through collaboration with himself, the director and the production team. The play also received support from Without Walls, a UK charitable foundation that funds site-specific art projects in unexpected locations.
He said, “The car park setting aims to make theatre more inclusive and accessible, bringing stories to communities who might not typically attend traditional venues. It transforms an ordinary, functional space into something that can tell meaningful stories about the place people find themselves in.
“Upon arrival, audience members will receive headphones, a cup of tea, and a magazine featuring works by local artists. The immersive experience includes memories, sound design, and unique perspectives from the top floors of car parks, offering spectacular city views rarely appreciated.”
Though acknowledging it’s a challenge and perhaps a risk, Sagar said the most rewarding outcomes often come from embracing such challenges.
The actor-writer is from Delhi and grew up in Hertfordshire.
Asked how his Indian background influenced his writing, he said, “I was born to parents from Delhi and grew up in Nairobi, Barcelona and Moscow until I was eight, when my family moved to England in 2001. I settled in Hertfordshire, just outside London, where I spent my formative years before later relocating to north London.
“This experience of movement and feeling ‘slightly different’ heightened my selfawareness from a young age, making me more attuned to how people respond to differences. My own background fostered my interest in storytelling about ‘big themes from small places’ and examining ordinary people’s experiences.
“As with many artists from ethnic minority backgrounds in the west, my work is underpinned by a desire to understand my place in a society that presents itself as inclusive, whilst acknowledging persistent troubling views about integration and immigration.”
Biting Point was commissioned in 2023, prior to the 2024 summer riots that swept through Southport, Hull and other towns and cities across the UK.
Sagar added, “For the play, I created Anita, a character with south Asian heritage born and raised in Grimsby (northeast England), who sounds local, but looks Indian.
“The play’s 2025 performance comes less than a year after the UK riots of 2024 – events reflecting both legitimate expressions of despair and more nefarious forces, resulting in attacks on minorities. While I resist reductive classifications of ‘British Asian’ identity, I believe engaging audiences with these complex stories of belonging and community might help them leave the theatre feeling differently than when they arrived.”
The innate human tendency towards goodness and acceptance is often forgotten as we navigate adulthood, Sagar said.
“When this fundamental nature intersects with today’s globalised, increasingly unequal world, the consequences for ordinary people can be devastating. Our political systems frequently leave those without a voice feeling more disenfranchised, while those at the upper end of the scale control media and politics. This power imbalance can lead fundamentally decent people to develop resentment. When communities change and opportunities diminish, people naturally search for explanations. However, the true causes are often more complex than we wish to believe. The 2024 riots, for example, cannot be attributed solely to asylum seekers in hotels; these communities’ grievances stem from decades of governmental neglect – closed libraries, underfunded schools, and relocated hospitals. These systemic failures can transform good people’s outlook, with potentially devastating results. Ultimately, this play aims to offer communities hope that goodness remains possible, even when circumstances seem stacked against us.”
Sagar trained with the Soho Theatre Writers’ Lab, the INSPIRE scheme at Hampstead Theatre, the London Library Emerging Writers Programme, and the Channel 4 Screenwriting Course in 2023.
The writer, who also plays Mr Praed in Mrs Warren’s Profession at the Garrick Theatre, London, later this month, said his acting journey also helped him with his writing. “I think acting is always useful. It gives you insight not only into how other creatives work – what directors and writers need – but ultimately, because you’re the one who must stand up and deliver the lines, it gives you a sense of how dialogue works and what makes for good dialogue. It also helps you understand what makes for good characters.
“Actors are naturally drawn to playing complex characters. We want to play people who have a journey in a play. You don’t want to just stand there and say one line over several hours - you want to have something to hold on to. That informs the way I write. I want to create interesting people doing interesting things, even if, at first glance, they don’t come from particularly interesting places.
Sagar added, “For example, in Biting Point, you have John, who is a delivery driver - someone doing a job most people might not pay much attention to. Then there’s Anita, a property manager, which might sound dull or ordinary. But their inner worlds, the things affecting them every day, are complicated, messy, knotty, and sometimes funny too.
“So, I think my acting background - my experience on stage performing, making people laugh, moving people - means I want to give actors the opportunity to shine and tell exciting stories. My performance background informs the way I write, and vice versa. The way I write also draws me, as an actor, to work that is challenging, provocative, and says something about the world, rather than shying away from it or accepting things as they are.”
Biting Point opens in Hull next Saturday (10) and will tour north England until June 22.
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Dylan has previously described painting as a way to “relax and refocus a restless mind”
Bob Dylan will exhibit a new series of original paintings at the Halcyon Gallery in London from 9 May. The collection, titled Point Blank, features 97 recent works and will be open to the public free of charge.
The exhibition follows renewed interest in Dylan’s life and career following the release of the biopic A Complete Unknown earlier this year. Now aged 83, the musician remains active, both as a touring performer and visual artist.
Point Blank comprises works based on original sketches Dylan created between 2021 and 2022. The subjects include musicians, couples, sportspeople, interior scenes, and locations Dylan has spent time in. The sketches were later transformed using vivid colours, which Dylan describes as “living, breathing entities that have emotional resonance”. He said the colours act as “weapons and mood setters” and serve as “a means of storytelling”.
Commenting on the intention behind the series, Dylan said: “The idea was not only to observe the human condition, but to throw myself into it with great urgency.” Some of the images include a saxophonist, a cowboy standing before a rising sun, and a mirror reflecting a set of lips. A number of the works use blue, red, and neutral monochromatic tones, prompting comparisons to Pablo Picasso’s early Blue Period.
The Point Blank collection also originated as a book and features accompanying prose. According to Kate Brown, creative director at Halcyon, “These works on paper feel like memories, intangible windows into the life and imagination of one of the greatest storytellers who ever lived.” She added that the exhibition is likely to engage viewers' imaginations, encouraging them to consider the lives of the characters portrayed and the spaces depicted.
This is not Dylan’s first collaboration with Halcyon Gallery. In the past, the venue has showcased his Drawn Blank series, which featured graphite sketches made between 1989 and 1992 during tours across Europe, Asia, and the United States. Those works were also later reinterpreted with colour.
Dylan has previously described painting as a way to “relax and refocus a restless mind” during the demands of touring life.
Paul Green, president and founder of Halcyon Gallery, said: “It is nearly 18 years since Halcyon first started working with Bob Dylan and it has been an extraordinary experience to watch this cultural icon develop into such a critically revered and important visual artist so closely.”
He added: “This latest body of paintings feels like a more intimate connection to the artist than in any of his previous work and it is a great privilege to share them with the public for the first time.”
The Point Blank exhibition will be on display at the Halcyon Gallery on New Bond Street, starting from 9 May. Entry is free.
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'The Archives' will be on display from 21 November 2025
A model of The Grand Budapest Hotel will be among more than 600 objects featured in a major new Wes Anderson exhibition opening at the Design Museum in London later this year.
Titled Wes Anderson: The Archives, the retrospective has been developed by the museum in collaboration with the acclaimed American filmmaker and La Cinémathèque française. It is set to open on 21 November 2025 and will explore Anderson’s distinctive visual style, detailed craftsmanship, and storytelling across his career.
Wes Anderson, who turns 56 this year, is known for films such as The Royal Tenenbaums, Fantastic Mr Fox, Moonrise Kingdom, The French Dispatch and the Oscar-winning The Grand Budapest Hotel. The latter, released in 2014, received Academy Awards for Best Production Design and Best Costume Design.
The exhibition will present a chronological journey through Anderson’s work, with each section dedicated to one of his films. Central to the display is a candy-pink model of The Grand Budapest Hotel, which served as a key element in the film’s production. The story follows M. Gustave, played by Ralph Fiennes, a concierge at a luxury hotel in a fictional European country during the early 20th century.
Among the other featured items are the vending machines seen in Asteroid City, the Fendi coat worn by Gwyneth Paltrow’s character in The Royal Tenenbaums, and the original stop-motion puppets used to depict underwater creatures in The Life Aquatic with Steve Zissou.
Costumes worn by cast members across various Wes Anderson films will also be on display. These include Benicio del Toro’s outfit as Moses Rosenthaler in The French Dispatch, as well as costumes worn by Ralph Fiennes, Scarlett Johansson, Jason Schwartzman, Ben Stiller, Tilda Swinton and Owen Wilson.
A section of the retrospective will focus specifically on Anderson’s work in stop-motion animation, including Fantastic Mr Fox and Isle of Dogs. Visitors will also be able to see unfinished props, set pieces, and other materials that reveal Anderson’s methods and collaborative process.
In addition, a selection of Wes Anderson’s handwritten notebooks will be included. These documents offer insights into the inspirations, character development, and storyboarding behind his films.
Tim Marlow, director and chief executive of the Design Museum, said: “Wes Anderson has created some of the most visually distinctive and emotionally resonant films of the last two decades — from the melancholic charm of The Royal Tenenbaums to the youthful adventurism of Moonrise Kingdom. He’s an utterly compelling creator of cinematic worlds, whose singular vision and attention to detail are underpinned by an acute understanding of design and craftsmanship, which is why the Design Museum is the perfect location for this landmark retrospective.”
The museum previously hosted a successful exhibition on Tim Burton in 2024, which included notable costumes such as Jenna Ortega’s Wednesday dress and Michelle Pfeiffer’s Catwoman suit.
Wes Anderson: The Archives will be on display from 21 November 2025 at the Design Museum in Kensington, London.