Pooja Pillai is an entertainment journalist with Asian Media Group, where she covers cinema, pop culture, internet trends, and the politics of representation. Her work spans interviews, cultural features, and social commentary across digital platforms.
She began her reporting career as a news anchor, scripting and presenting stories for a regional newsroom. With a background in journalism and media studies, she has since built a body of work exploring how entertainment intersects with social and cultural shifts, particularly through a South Indian lens.
She brings both newsroom rigour and narrative curiosity to her work, and believes the best stories don’t just inform — they reveal what we didn’t know we needed to hear.
Gwyneth Paltrow is returning to the big screen after years away, and she’s making headlines for more than just her comeback. In her latest film, "Marty Supreme," the actress shares the screen with Timothée Chalamet in a sports comedy that promises plenty of drama and a lot of intimacy.
Speaking to Vanity Fair, Paltrow revealed that the film features a significant number of sex scenes between her and Chalamet. The two actors play characters caught in a complicated relationship, with Paltrow’s role being that of a woman married to a member of the so-called "Ping-Pong mafia." Her character's life takes a turn when she meets Chalamet’s, leading to a passionate yet a transactional dynamic.
Gwyneth Paltrow & Timothée Chalamet heat up the screen in Marty Supreme—and she says they had “a lot of sex” on setroar-assets-auto.rbl.ms
While filming these scenes, Paltrow encountered an industry change she wasn’t expecting: the presence of an intimacy coordinator. These professionals have become a standard part of film productions to ensure actors feel comfortable during intimate scenes. However, Paltrow admitted she wasn’t entirely on board with the process, saying that she and Chalamet requested the coordinator to step back.
“I come from a time when you just got in bed and the camera rolled,” Paltrow explained. She acknowledged that times have changed, but she felt that too much guidance on set might have interfered with the natural flow of their performances. While some actors have embraced the role of intimacy coordinators, others, like Paltrow, have expressed concerns about over-instruction stifling their artistic instincts.
Behind the scenes of Marty Supreme: Gwyneth Paltrow opens up about steamy scenes with Timothée Chalamet and why she resisted an intimacy coordinatorInstagram/ fotogramas_es
Beyond the steamy scenes, "Marty Supreme" is in fact an important shift in Paltrow’s career. Known in recent years more for her wellness brand than for acting, she’s stepping back into a major role for the first time in nearly a decade. Director Josh Safdie praised her on-screen presence, noting that her time away from Hollywood has added depth to her performance.
Gwyneth Paltrow’s big-screen comeback is making waves—for its wild romance, shocking scenes, and her take on Hollywood’s changing normsInstagram/ fotogramas_es
The film is set for release on December 25, making it a potential awards contender. Alongside Paltrow and Chalamet, the cast includes Fran Drescher, Tyler, the Creator, and Abel Ferrara. Given the buzz already surrounding its production, "Marty Supreme" is hoping up to be one of the most talked-about films of the year.
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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