Internationally acclaimed actor Irrfan Khan passed away on Wednesday after a long battle with cancer. He was diagnosed with a neuroendocrine tumour in 2018 and underwent treatment in London. But the 53-year-old actor finally succumbed to a colon infection on April 29, 2020 in a Mumbai hospital.
On Friday, Khan’s wife Sutapa Sikdar and sons Babil and Ayaan released a statement. It read: How can I write this as a family statement when the whole world is taking it as a personal loss? How can I begin to feel alone when millions are grieving with us at the moment? I want to assure everyone that this is not a loss, it is a gain. It’s a gain of the things he taught us, and now we shall finally begin to truly implement it and evolve. Yet I want to try to fill in the things that people don’t already know.
It’s unbelievable for us but I would put it in Irrfan’s words, “it’s magical” whether he is there or not there, and that’s what he loved, he never loved one dimensional reality. The only thing I have a grudge against him is; he has spoiled me for life. His strive for perfection doesn’t let me settle for ordinary in anything. There was a rhythm which he always saw in everything, even in cacophony and chaos, so I have learnt to sing and dance to the music of that rhythm, even with my tone-deaf voice and two left feet. Funnily, our life was a masterclass in acting, so when the dramatic entry of the “uninvited guests” happened, I had by then learnt, to see a harmony in the cacophony. The doctor’s reports were like scripts which I wanted to perfect, so I never miss any detail that he sought for in his performance. We met some amazing people in this journey and the list is endless, but there are some whom I have to mention, our oncologist Dr. Nitesh Rohtogi (Max hospital Saket) who held our hand in the beginning, Dr. Dan Krell (UK), Dr. Shidravi (UK), my heartbeat and my lantern in the dark Dr. Sevanti Limaye (Kokilaben hospital). It’s difficult to explain what a wondrous, beautiful, overwhelming, painful and exciting this journey has been. I find this 2 and 1/2 years to have been an interlude, which had its own beginning, middle and culmination with Irrfan helming the role of the orchestra conductor, separate from the 35 years of our companionship, ours was not a marriage, it was a union. I see my little family, in a boat, with both my sons Babil and Ayaan, paddling it forward, with Irrfan guiding them “wahan nahi, yahan se modo” but since life is not cinema and there are no retakes, I sincerely wish my children sail this boat safely with their father’s guidance in mind and rockabye through the storm. I asked my children, if possible, they could sum up a lesson taught by their father that has been important to them;
Babil: “Learn to surrender to the dance of uncertainty and trust your faith in the universe”
Ayaan: “Learn to control your mind and to not let it control you.”
Tears will flow as we will plant a raat ki rani tree (Night Jasmine), his favourite, to the place where you have put him to rest after a victorious journey. It takes time but it will bloom and the fragrance will spread and touch all the souls whom I won’t call them fans but family for years to come.
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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