In the list of most searched Asians on Google in 2022, Bollywood actresses Katrina Kaif, Alia Bhatt, and Priyanka Chopra managed to find a place in the top 10.
Interestingly, Kaif, who was most recently seen in Phone Bhoot (2022) alongside Siddhant Chaturvedi and Ishaan Khatter, has beaten Bhatt and Chopra by fetching herself the 7th spot on the list. Bhatt is right behind her at the 8th number. Global star PeeCee is at the 9th spot. Katrina has the distinction of topping among Indian actors making it to the list this year.
At the No. 1 spot of the top 10 Google most searched Asians is the popular Korean band BTS V. The band enjoys a massive fan following all around the world. On No. 2 is Jungkook followed by slain Punjabi rapper and singer Sidhu Moose on No. 3. Moose Wala was shot dead by unidentified assailants on 29 May 2022; a Canada-based gangster, active in Punjab, claimed responsibility for the killing.
The 4th spot is taken by Jimin followed by the legendary late singer Lata Mangeshkar on the 5th position. Lisa is on the 6th spot followed by Katrina Kaif, Alia Bhatt, and Priyanka Chopra on the 7th, 8th, and 9th spots. The last on this list is Indian cricketer Virat Kohli.
BTS V
Jungkook
Sidhu Moose Wala
Jimin
Lata Mangeshkar
Lisa
Katrina Kaif
Alia Bhatt
Priyanka Chopra
Virat Kohli
Interestingly, Katrina Kaif, Alia Bhatt, and Priyanka Chopra are set to come together to headline filmmaker Farhan Akhtar’s next directorial venture Jee Le Zaraa. The project, which has faced an inordinate delay in getting started, is expected to start rolling next year in 2023. More details are expected to arrive soon.
Keep visiting this space for more updates and reveals.
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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