Director Harshvardhan Kulkarni, who last helmed Hunterrr (2015), is currently awaiting the release of his next directorial venture Badhaai Do, a spiritual sequel to the 2018 hit Badhaai Ho.
Talking about the film, he says that Badhaai Do is an attempt to normalise the discourse around the queer community and break certain stereotypes attached with their representation in cinema. The upcoming movie revolves around a gay cop (Rajkummar Rao) and a lesbian PT teacher (Bhumi Pednekar) who get into a lavender marriage, a wedding of convenience, to avoid family pressure but it leads to further complications.
“The intention is in normalising the larger discourse, of bringing in community and talking about it. Basically, it's a story about a lavender marriage and that is a compromised reality for our characters. They come from traditional families and that's where they are not being accepted so they find this solution. It's about the choices that these characters are making. We are not passing any judgment over the choices that they're making but we are actually looking at the journey of their choices, the stories of their choices," Kulkarni told PTI in an interview.
Filmmaker Onir recently expressed his disappointment after his story featuring a gay army officer was not given a go-ahead from the Defence ministry but he hailed the team of Badhaai Do for presenting Rao, a popular Bollywood star, as a gay policeman.
Kulkarni said it isn't right to restrain creative people from narrating stories though his team did not face any problem in telling their story. "For us, it has not been such a bad journey. I'm feeling terrible for Onir. I don't understand why there should be any kind of restraint especially when it is based on a true story. One should be able to make (stories). Let people be the judge of whether they are okay or not. Once you start talking about it, the more conversations you have, there are more chances that you're going to normalise everything.”
In Badhaai Do, Rao features as a gay cop, and Kulkarni said the profession plays a pivotal role in the narrative. It was also a conscious decision as normally such characters are shown to have a background in the fashion or the movie industry.
The queer community is a part of so many other professions but a lot of them are closeted, he said. “We were fed up with the stereotypical professions that people are always associated with when they represent the queer community, like fashion or film industry. We were looking at different professions and we also wanted it to be extremely difficult for the character. Being a guy in a uniform is going to be very tough to be out there in the open,” the 48-year-old director said.
The director said he was unaware of this concept of lavender marriage, which was brought to him by the writers Suman Adhikary and Akshat Ghildial. Kulkarni started reading up on the idea of lavender marriage, which he realised was rampant including in India and many other countries which have traditional value systems.
“Where there is a traditional setup and it's archaic, in all of those systems, there will be a huge problem of acceptance because that's how the society is built. We are so feudal, patriarchal, and caught up with our own value systems and moralities that we cannot accept anything which is natural.”
He said initially the endeavour was to scout for real-life stories but later realised it was a secretive affair and made Badhaai Do as a culmination of a lot of stories. As part of their research, Kulkarni said the team spoke to a lot of people from the queer community.
“We were told by queer community that there's so much of undue pressure from the families, who are judging them as they think being queer is wrong and hence, they are closeted,” he added.
Kulkarni said the commonality between the two movies - Badhaai Ho! and Badhaai Do is Ghildial (writer), the producers Junglee Pictures and actor Sheeba Chaddha.
"Everybody is saying it's a spiritual sequel, it's a great way of saying it because in spirit they are quite there as it's about the middle-class family, it's about them grappling with an uncomfortable truth and how do they face it,” he said.
The director said Badhaai Do has been in the making for four years but he came on board in 2018, just a few months before the release of Badhaai Ho! As a director, Kulkarni, who won praise for the adult comedy Hunterrr, said he is drawn towards stories that break the stereotype.
“I'm interested in stories, which would break certain notions. I would like to know more about the world, which is why there is a similar thread between two movies where we are trying to break certain things in our storytelling,” he added.
Backed by Junglee Pictures, Badhaai Do is slated for its theatrical release on February 11, 2022.
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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