Bollywood star Kartik Aaryan says venturing into the physical and mental space of the titular character in his latest release "Freddy" was a "tiring and taxing" process.
Directed by Shashanka Ghosh, "Freddy" is billed as an edge-of-the-seat thriller with unusual twists, turns and chaos of emotions.
In a departure from his signature Bollywood entertainers, Aaryan opted for the method acting technique to understand the world of Dr Freddy Ginwala.
"'Freddy' has taught me a lot. For the first time, I adapted a method maybe to understand the character. I was actually living life like Freddy. I learned a lot of methods on this film, which was not my way of doing things," the actor told PTI in an interview.
The movie centres on Freddy Ginwala, a shy, lonely and socially awkward person who loves playing with his miniature planes and the only friend he has is his pet turtle. His life turns upside down after he falls in love with a married woman.
Aaryan said he became a loner, gained weight and internalised the character so much that after a point, he almost started thinking like Freddy.
"It was very exhausting to play Freddy. I was behaving like Freddy in my real life as well. I actually became a loner and introvert. I had a 'Freddy playlist' with jazz music. We were also exploring Freddy while we were creating it.
"It was tiring, but the character needed this. I had internalised the character so much that I started thinking almost like him. It was a bit taxing," Aaryan added.
The 32-year-old actor, who has emerged one of the most bankable stars of Bollywood with "Bhool Bhulaiyaa 2" this year, said he had been looking for an interesting thriller since the success of his 2018 movie "Sonu Ke Titu Ki Sweety".
"Offers in thriller space started coming in after 'Sonu...'. A lot of people were not expecting me to get into this genre, so they were not offering me a film like 'Freddy'. I heard a lot of scripts in thriller space because I wanted to do a film like this. When 'Freddy' came, I was blown away by the story and the character." Prior to "Freddy" and "Dhamaka", Aaryan mostly featured in the boy-next-door roles in movies "Pyaar Ka Punchnama" franchise, "Luka Chuppi" and "Pati Patni Aur Woh".
Produced by Balaji Telefilms and Northern Lights Films, "Freddy" started streaming on Disney + Hotstar from Friday. The film marks the actor's second direct-to-digital release after Netflix's "Dhamaka".
He said "Freddy" came to him during the pandemic and the team felt it was necessary for them to conceive it as an OTT movie to do justice to the story.
"It is a kind of film that should be on a digital platform, otherwise we would have to tamper a lot of the content and change it according to theatres. We were clear about a lot of things when we started the film," Aaryan said.
"Freddy" is written by Parveez Sheikh and Aseem Arora. The film also features Alaya F and Jeniffer Piccinato.
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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