In a star-studded presence on the Red Carpet, Union Minister of Information & Broadcasting Shri Anurag Thakur led the largest ever Indian official delegation of eleven celebrities walking together on the inaugural event at the Cannes Film Festival.
The Union Minister is leading a strong Indian delegation to propagate India, the land of storytellers as the ‘content hub of the world’ and preferred ‘post-production hub’ for global filmmakers.
In a historic moment for Indian folk arts, Shri Mame Khan became the first-ever folk artist to open a Red Carpet for the Indian contingent at Cannes ever.
Putting on display the diversity and uniqueness of Indian cinema, the glamorous red-carpet contingent comprised film celebrities from across India. Consisting of eleven members walking towards the legendary stairs of the Palais des Festivals, the delegation carried all the symbolism of India’s ambition to become a global cinema hub.
The ten celebrities that accompany the Minister feature three musical maestros, who have been raising India’s flag on the international scale, and renowned filmmakers and actors from Indian Cinema who represent a kaleidoscope of diversity from various regions, languages, mainstream and OTT led cinema. India the land of storytellers is setting a beautiful narrative for the world through its strongest ever red-carpet presence at Cannes.
Among the stars was actor Nawazuddin Siddique, a regular at Cannes. His raw, powerful acting and the realism of his movies, such as The Lunchbox or Gangs of Wasseypur, have particular resonance among European audiences and signal that India is capable of producing movies catering to a wide range of sensitivities.
The presence of superstar music composer AR Rahman in the group displayed the intent of the Indian delegation to pay tribute to cinematographic music – for, maybe more than anywhere in the world, soundtracks play a massive role in the DNA of Indian cinema. Showcasing the musical eclecticism of the country, different genres were represented on the red carpet. Ricky Kej, an internationally acclaimed new age music composer and multi-Grammy Award winner, represented a more contemporary side of India, while Mame Khan, a film composer and folk singer from Rajasthan, personified the influence of folk culture on Indian cinema. Prasoon Joshi, a lyricist who penned innumerable evergreen film songs, and is now Chairman of the Central Board for Film Certification (CBFC), was also present.
Ambassadors from different regional cinemas were included in the delegation, sending the signal to the world that India – which boasts of 25 regional film industries – has many different flavours and styles to offer in terms of film production. This year, cinema from the south was in the spotlight. R. Madhavan, an actor, and producer who has been involved in movies shot in six different languages (Tamil, Telugu, Malayalam, Kannada, Hindi, and English) was a good example of the staggering diversity of Indian cinema. Two Telugu cinema superstars, Tamannah Bhatia and Pooja Hegde, also made their dazzling appearance as part of the delegation.
Shekhar Kapur, director of legendary films such as Mr. India, and now chairman of the Film and Television Institute of India (FTII), as well as Vani Tripathi Tikoo, actress and member of CBFC, also took part in the Indian delegation.
Delegation members in order of appearance on Red Carpet
Mame Khan, famous folk singer from Rajasthan
Shekhar Kapur, globally acclaimed Director
Pooja Hegde, Actress
Nawazuddin Siddiqui, Actor
Tamannah Bhatia, Actress
Anurag Thakur, Head of the delegation and the Union Minister of Information & Broadcasting, India
R Madhavan, Actor, Director, and Producer
AR Rahman, leading singer & Music Composer
Prasoon Joshi, Chairman CBFC & renowned lyricist
Vani Tripathi, Producer, Member CBFC, Indian film personality
Ricky Kej, the two times Grammy award winner and musician
Cannes Film Festival, which gathers every year the who’s who of the global movie industry, will take place from May 17th to 28th, 2022, and will be the occasion for Indian delegates to take part in various events and high-level meetings.
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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