Ajay Devgn’s Raid released yesterday with mixed reviews from the critics and the audience. Ajay essays the role of an Income Tax Officer while Ileana D’Cruz plays the role of his wife. In an interaction with a leading Indian daily, Ileana spoke about how she was approached for the movie. She said, "Ajay had informed me about this film while we were promoting Baadshaho. On the very first day of Baadshaho’s promotion, he took me aside and told me about a role in Raid. He also added that the role is a good one but not a lengthy one. He requested me to listen to the script and then take a decision. No matter how big the star is in a film, if the content is not great, it’s definitely not going to work. Content matters and this film had that."
Speaking about her character in the film, she said, "Malini is very spunky and says what she has to and she is an equal to her husband and that says a lot considering the film is rooted in early 80s. There are certain dialogues of mine in the film which are very cool and I cannot divulge them now as I am afraid that censor board might ask us to edit them. As far as roles are concerned, I would not want to do a role that anyone can do."
"I have not really played an actual person on the screen except for maybe some film that were based on certain people. I would like to keep the idea of fiction attached to it. I have the leeway of just focusing and relying on my writer and putting my own mind to it. I try not to overthink and not to do research and take other’s perception," added Ileana.
Ileana further mentioned that she enjoyed playing the negative role in Baadshaho. "It’s really nice when its unexpected and playing a character that was manipulative was lots of fun. In fact, I cried when I finished the film. Thankfully, times have changed when a typical negative person does not wear red lipstick and red nail polish, and smokes cigarette. It needs to be well-written and should be more intellectually bad as opposed to visually bad," said the actress.
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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