One is a director, the other a composer. And together Imtiaz Ali and A R Rahman, the duo behind hit albums of films such as Rockstar, Highway, and Tamasha, are just two music aficionados jamming together.
The two, back together for Amar Singh Chamkila, say theirs is a connection that goes beyond a simple director-composer equation. It’s one that started on a poetic note with Ali reciting Punjabi preacher-poet Baba Farid's famous lines "Kaga Sab Tan Khaiyo" to the Tamil-speaking Rahman during the narration of "Rockstar".
"He didn't know anything about my work," Ali told PTI, recalling his first meeting with the Oscar-winning music maestro.
"I liked his hair," added Rahman about his director’s famous unruly mop of curls that have become a signature of sorts for him.
Ali, of course, knew everything there was to know about Rahman's music, not just in Hindi cinema but in Tamil as well. But they really connected over Baba Farid.
The conversation inspired the 2012 film's famous song “Naadan Parindey”, sung by Mohit Chauhan.
"I felt I had your attention," Ali told Rahman about the meeting at the musician’s Chennai studio years ago.
Ali said his producers had told him to "catch hold" of the musician at any cost for the movie, starring Ranbir Kapoor and Nargis Fakhri.
"Working with him, all borders disappear. We don’t think, 'He is the director and I’m the composer'. We just jam with it and we think how we can make this interesting, and how we go deeper into something. He has a great sense of picking up tunes, lyrics, so I trust his instinct. He's a fan of music, lyrics, great poetry, psychology and philosophy," Rahman told PTI.
Their latest collaboration Amar Singh Chamkila, about the popular 80s grassroots Punjabi singer who was shot dead along with his wife and singing partner Amarjot, will start streaming on Netflix from April 12.
The challenge with the film, Rahman said, was that Chamkila wrote and sang his own songs.
"My question was, ‘Chamkila already has songs, so what am I going to do in it?’ We sat and figured it out," he said.
The film will see lead stars Diljit Dosanjh and Parineeti Chopra sing several songs. The other numbers, sung by Alka Yagnik, Mohit Chauhan, Rahman, Arijit Singh and others, play in the backdrop.
Ali and Rahman, both in their 50s, want to take Chamkila’s music across the world as they are catering to a global audience by telling the story of a person who came from rural Punjab.
Alka Yagnik sang “Agar Tum Saath Ho”, a popular romantic number from Tamasha and is back for “Naram Kaalja” in “Amar Singh Chamkila”.
Asked why veteran singers don’t get too many chances in playback singing today, Ali, 52, said, it was Rahman’s idea to rope in Yagnik, a popular voice of the leading ladies in the 90s and 2000s.
“She (sang), ‘Agar Tum Saath Ho’ and now, in retrospect, the whole world knows why. Alka ji’s voice could be very nice because it has a vintage quality but I couldn't see it at that time. Even this time, she has sung, ‘Naram Kaalja’ and it was his (Rahman’s) idea. Again, we didn’t expect it.”
Rahman, 57, who is particular about the singers he collaborates with, added, “The unfortunate truth is if somebody becomes popular, everybody goes to the person. They overuse that person and kill them.”
According to the music maestro, it is important to cast singers correctly and he said he managed to do that with both Yagnik and Richa Sharma in Maidaan, another Hindi film he has composed for.
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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