Earlier this year Irrfan Khan revealed he was battling cancer, and the actor had sought privacy as he and his family dealt with the news.
Khan has been in London since March, receiving treatment, and recently he made a brief social media appearance to share an interview with a leading media outlet where he opened up about life after cancer diagnosis.
Khan was diagnosed with neuroendocrine cancer and due to the fact that there are fewer case studies related to the disease, Khan said he was part of a trial-and-error game.
"I had been in a different game, I was travelling on a speedy train ride, had dreams, plans, aspirations, goals, was fully engaged in them," said the actor. "And suddenly someone taps on my shoulder and I turn to see. It’s the TC: 'Your destination is about to come. Please get down.' I am confused: 'No, no. My destination hasn’t come.' 'No, this is it. This is how it is sometimes.'"
Khan, who is one of the most versatile actors in Bollywood, was last seen in Blackmail. He is currently awaiting the release of Karwaan.
Khan is also a known face in Hollywood, having worked in movies such as Life of Pi, Namesake and Inferno to name a few, and he is enamoured by what the western film industry has to offer. But that doesn't mean he's done with Bollywood just yet.
"This is my country and I became actor for here," Khan said in an earlier interview. "When I got a chance to work in West it is with the director I never thought I would ever work with. For me, both the industries are important. I am even working in European industry. I am an actor, wherever I will find interesting work, I will do," he said.
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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