Leading streaming platform Netflix on Thursday unveiled its upcoming slate for India that features over 22 projects, including Sanjay Leela Bhansali's debut streaming show Heeramandi: The Diamond Bazaar, Imtiaz Ali’s Amar Singh Chamkila, and Oscar-nominated documentary To Kill A Tiger.
The slate, which was announced in Mumbai at a star-studded event called 'Next on Netflix', features a mix of movies, web series, unscripted shows, and documentaries.
Monika Shergill, Vice President, Content at Netflix India, said the streamer is looking forward to another great year after a successful 2023.
''We swept a multitude of awards, including the Oscar, the International Emmy, Busan award for 'Scoop'. On the back of a successful 2023, this year is going to be bigger and bolder. That's how we planned it.
''When you have to programme for that large an audience, it's important to programme to a wide taste... Our ambition is to super-serve the audiences and to give them all kinds of entertainment," Shergill said.
The event was attended by AR Rahman, Diljit Dosanjh, Farhan Akhtar, Sonakshi Sinha, Manisha Koirala, Richa Chadha, Taapsee Pannu, Kriti Sanon, Vijay Varma, Anubhav Sinha, Aanand L Rai, Imtiaz Ali, Guneet Monga, Yo Yo Honey Singh, Kapil Sharma, and Sunil Grover, among others.
It all started with the introduction of the characters in Bhansali's Heeramandi, featuring Koirala, Sonakshi Sinha, Chadha, Sharmin Segal, Aditi Rao Hydari, and Sanjeeda Shaikh.
Koirala, who is reuniting with Bhansali after his 1996 feature debut Khamoshi: The Musical, said the team tried to put its best foot forward as they were working with the master filmmaker.
''To be working with Sanjay 25 years after his first film, Khamoshi, it can't get better than 'Heeramandi'. It's been a humongous journey, I've seen him grow as an artist, as a maestro, as a genius, he is India's best,'' the actress said at the event.
The streamer is bringing the true story of the December 24, 1999 hijack of the Indian Airlines flight to screen in the form of a series titled IC 814: The Kandahar Hijack. The first glimpse of the show, directed and created by Anubhav Sinha, was revealed on Thursday.
Anubhav Sinha, known for films such as Mulk, Article 15, and Bheed, said it was a responsibility to be as authentic as possible while working on the series.
''Almost everyone remembers a few things about the hijack, and what all happened during the process, but when I started doing research, I realised it is a very complex story and a lot of things happened in those seven days, and not many people know about it.
''We have put it all in the show… We had to make it factually correct and yet dramatic and engaging,'' he said at the event.
IC 814: The Kandahar Hijack stars Vijay Varma, Patralekha, Pankaj Kapur, Naseeruddin Shah, Arvind Swamy, Dia Mirza, Kumud Mishra, Manoj Pahwa, Amrita Puri, and Anupam Tripathi.
Netflix also unveiled the first looks of Amar Singh Chamkila, Kajol and Kriti Sanon-starrer Do Patti, Farhan Akhtar-produced Dabba Cartel, Luv Ranjan's upcoming film Wild Wild Punjab, a documentary on rapper Yo Yo Honey Singh backed by Monga, comedian Sharma's show The Great Indian Kapil Show, and a docuseries on the cricketing rivalry between India and Pakistan called The Greatest Rivalry – India vs Pakistan.
The event also saw film announcements, including Neeraj Pandey's Sikandar Ka Muqaddar and Murder Mubarak, featuring Sara Ali Khan and Varma.
The streamer also shared a sneak peek into the next installment of the Taapsee Pannu-starrer movie Phir Aayi Haseen Dilruba.
Netflix's returning series titles, such as the third seasons of Fabulous Lives Vs Bollywood Wives, Jeetendra Kumar-fronted Kota Factory, Mismatched starring Rohit Saraf and Prajakta Koli, and the second season of Khakee: The Bengal Chapter, created by Pandey, and Yeh Kaali Kaali Aankhein, were also officially featured in the showcase.
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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