Former Bigg Boss contestant Kamaal Rashid Khan, popularly known as KRK, has reportedly been diagnosed with Stage 3 stomach cancer.
A press statement believing to be from KRK, who is also a film critic, claims he has just a few years to live and expressed sadness at not being able to fulfill his two wishes -- to produce a film and to work with Bollywood star Amitabh Bachchan.
"It's confirm that I have stomach cancer on 3rd stage, hence I will be alive for 1-2 years more," a statement believing to be from the actor read. "Now I won't entertain anybody's call who will try to make me feel that I am going to die soon. I don't want to live with anybody's sympathy even for a day. I will appreciate those people, who will continue to abuse me, hate me or love me like before only, and like a normal person only.
"I am only sad for my two wishes, which I will not be able to fulfill.(1) I wanted to make an A grade film as a producer. (2) I wanted to work with Amitabh Bachchan ji in a film or produce a film with him. These Both of my wishes will die with me forever. Now I would love to spend my all time with my lovely family. Love you all, whether you hate me or love me. KRK. (sic)"
Khan, who has produced and acted in many low-budget Hindi and Bhojpuri films, has been involved in various controversies since making his acting debut in 2008's Deshdrohi. Recently, his Twitter account was suspended for revealing the climax of Aamir Khan's Secret Superstar.
He blamed other Bollywood actors for the suspension of his account.
KRK wrote: "SRK + Salman Khan + Aamir Khan forced #Twitter to suspend my account, but still, they can't stop me from reviewing films to save public from watching their crap films. Better, they should make good films instead to stop me."
"Yesterday, SRK told to one of the top directors that he will finish all these idiot critics within next 2 years. Thank you SRK. Let's see if you will finish Critics or You will finish yourself within next 2 years."
In his own words, KRK is as big a star as Shah Rukh Khan, one of Bollywood's biggest actors.
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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