Academy Award-winning composer AR Rahman has unveiled the first look and teaser of his latest venture, a feature documentary titled Headhunting to Beatboxing. The unveiling took place at the Bharat Pavilion at the 77th Cannes Film Festival.
Headhunting to Beatboxing, directed by Rohit Gupta and produced by AR Rahman, delves into the intriguing journey of rhythm and sound, charting music's growth throughout countries, tribes, and generations.
While talking about the feature documentary, Rahman said, “Music has this transformative power to change society and to connect and bring relevance to existence. Headhunting to Beatboxing is a celebration of this universal rhythm that unites humanity in its diverse expressions. We look forward to the start of its film festival journey and what better than Cannes which celebrates cinema to make the first announcement on the film" said AR Rahman, expressing his enthusiasm.
From the ancient traditions of headhunting tribes to the musical renaissance in the state, the documentary promises to take audiences on an immersive and enlightening musical anthropological odyssey.
Present at the launch at the Bharat Pavilion in Cannes were Academy Award winner and Padma Bhushan recipient AR Rahman, director Rohit Gupta, Executive Producer Abu Metha (Advisor to the Chief Minister, Government of Nagaland), and Executive Producer Theja Meru (Chairman TaFMA, Government of Nagaland) in addition to the other guests and dignitaries present.
Abu Metha, Advisor to the Chief Minister, Government of Nagaland, shared, "The germ of the idea came up when AR Rahman visited Nagaland to be part of the legendary Hornbill Festival. We knew we had to be part of it. The film is a collaboration of many creative minds, especially the TaFMA, and masterfully captured by director Rohit Gupta. The real heroes are the musicians of Nagaland, who tell stories that go back to times immemorial and their music exemplifies the ambition of our youth."
"5 years in the making, the journey of this film has been a sort of metamorphosis for me. The rich and vibrant music today, transcending the scars of the past is something that truly blew me away during the making. I am excited to see audiences witness our hard work and the magic that exists in the music of Nagaland" added director Rohit Gupta.
The film marks Rahman's second major foray into the realm of filmmaking as a producer, with his earlier production being 99 Songs. Its executive producers include Abu Metha, Adam J. Greig, Theja Meru, Rohit Gupta, Sheila Houlahan, and Rohhit Daas.
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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