Gayathri Kallukaran is a Junior Journalist with Eastern Eye. She has a Master’s degree in Journalism and Mass Communication from St. Paul’s College, Bengaluru, and brings over five years of experience in content creation, including two years in digital journalism. She covers stories across culture, lifestyle, travel, health, and technology, with a creative yet fact-driven approach to reporting. Known for her sensitivity towards human interest narratives, Gayathri’s storytelling often aims to inform, inspire, and empower. Her journey began as a layout designer and reporter for her college’s daily newsletter, where she also contributed short films and editorial features. Since then, she has worked with platforms like FWD Media, Pepper Content, and Petrons.com, where several of her interviews and features have gained spotlight recognition. Fluent in English, Malayalam, Tamil, and Hindi, she writes in English and Malayalam, continuing to explore inclusive, people-focused storytelling in the digital space.
Bollywood actor and filmmaker Kangana Ranaut is set to make her Hollywood debut in the upcoming horror drama Blessed Be the Evil. The film, produced by Lions Movies, also features American actors Tyler Posey (Teen Wolf) and Scarlet Rose Stallone (Tulsa King).
Production is scheduled to begin this summer in New York. According to the producers, the US location was selected to avoid potential complications related to newly introduced tariffs by former President Donald Trump on the film industry.
The film is directed by Anurag Rudra, known for New Me and Tailing Pond. Rudra co-wrote the screenplay with Gatha Tiwary, the founder and president of Lions Movies. Both are also serving as producers. The film’s cinematography will be handled by Wade Muller, whose previous work includes Elephant White and Occupation: Rainfall.
Blessed Be the Evil follows the story of a Christian couple grappling with the emotional fallout of a miscarriage. In an attempt to find peace, they purchase an abandoned farm unaware of its haunted past. Their love and faith are put to the test as they encounter a sinister presence.
Speaking about the project, Rudra said the concept was deeply inspired by his childhood in rural India. “I was told stories that got embedded in my mind and heart. This folklore was so special that I truly believed in all the stories and wanted to showcase them internationally through the art of cinema – the strongest and most beautiful way to connect to dreams and reality.”
Gatha Tiwary added: “A story like Blessed Be the Evil is very rare. Lions Movies has developed a spine-chilling narrative with unprecedented suspense and drama. It also has great potential for international markets, both in streaming and selling.”
Ranaut, a multiple award-winning Indian star, is recognised for her roles in films such as Queen, Tanu Weds Manu, and Manikarnika. She has received four National Film Awards and four Filmfare Awards. Earlier this year, she wrote, directed, and starred in Emergency, a political drama in which she portrayed former Indian Prime Minister Indira Gandhi. The film was released worldwide.
Alongside her film career, Ranaut is also active in Indian politics and currently serves as a Member of Parliament in the Lok Sabha.
Tyler Posey, best known for his role in MTV’s Teen Wolf and its revival film, has previous experience in the horror genre with Truth or Dare. Scarlet Rose Stallone, daughter of actor Sylvester Stallone and Jennifer Flavin, has appeared in Reach Me and most recently in The Gunslingers alongside Nicolas Cage.
The film will be presented to international buyers at the upcoming Cannes Film Market. Additional casting is being handled by London/Stroud Casting.
Posey is represented by Independent Artist Group, Luber Roklin Entertainment, and the law firm Goodman, Genow, Schenkman, Smelkinson & Christopher. Stallone is represented by Independent Artist Group and Untitled Entertainment. Legal negotiations for the production were led by Robert Benun of BenunLaw.
Lions Movies is also currently developing American Import, a crime drama exploring themes of family, rivalry, and corruption.
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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