The man behind Maqbool, Omkara, and Haider says he's a little troubled by Shakespeare's imprint on his work and might wait another 10 years to get back to the bard. But the Vishal Bhardwaj-William Shakespeare connect might just be too strong for that.
A scene in Bhardwaj's latest film Khufiya, an espionage thriller, has a scene showing a theatrical production of Julius Caesar.
A possible hat tip to Shakespeare in a film about betrayal? "It wasn't by design," Bhardwaj told PTI in an interview.
"I get very happy that a lot of things happen on their own. If you analyse it later, you'll see that depth has been created in it on its own. Yes, it was because Brutus is known for his betrayal, and 'et tu Brutus' is a famous line. I wanted to name the film Khufiya: Operation Brutus at one point," he said.
The filmmaker, who translated Shakespearean tragedies Macbeth, Othello, and Hamlet into celluloid classics, said he held back because he did not want people to assume he had gone back to Shakespeare again.
"I'm also a little troubled by his imprint on my work. I will now take time to go back to Shakespeare. I will not rush. It's already 10 years (since his last adaptation Haider in 2014) and I want to wait another 10 years before I make something," Bhardwaj said.
His newest venture is a spy thriller for Netflix that he wants to turn into a franchise.
The opening scene of Khufiya, set in 2000 after the Kargil war with Pakistan, almost didn't happen, Bhardwaj said.
The dreamy opening about a woman with a red umbrella emerging from the rain with Tabu's voice playing in the background got edited out and survived because of the insistence of his friends.
"When I started filmmaking, I read a quote by a big filmmaker who said a filmmaker is known by his first shot. I found it really interesting... Which is why the first image or how I open my film is the most important thing for me," Bhardwaj said.
"When I wrote this script, I wrote the opening lines for the winters of Delhi. I wrote these lines in the very first draft, drawing an image of a beautiful girl walking through the mist. But that scene got edited out in the subsequent drafts as we felt that it does not hold or there should be an action scene," he recalled.
The film stars his favourite Tabu, with whom he worked with in Maqbool and Haider, and actors Ali Fazal and Wamiqa Gabbi. It also features Ashish Vidyarthi, Navnindra Behl, Shataf Figar, and Atul Kulkarni.
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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