It’s Kangana Ranaut v/s Maharashtra government right now. It all started when a few days ago, Kangana stated that she is scared of Mumbai Police, and in reply to this, Shiv Sena leader, Sanjay Raut said that she should not come to Mumbai if she is scared of the police here.
Well, Kangana took this as a warning and announced on Twitter that she will be coming to Mumbai from Manali on 9th September. She asked for protection from the Himachal Pradesh government or Centre. Finally, the Ministry of Home Affairs decided to give her Y-plus category security.
A couple of days ago, BMC had raided Kangana’s office and claimed that there was an illegal construction at the property. Today morning even before Kangana landed in Mumbai, they started demolishing the property. However, in a few hours, Bombay HC ordered BMC to stop the demolition.
The actress after landing in Mumbai went to her house and shared a video on Twitter. In the video, she has stated, “Uddhav Thackeray, what do you think, along with film mafia, you broke my house and took revenge from me? Today, my house has been broken; tomorrow your arrogance will be shattered. This is the wheel of time, it won’t be same forever. I feel you have done a favour on me because I always knew what Kashmiri Pandits were going through, but today I have felt it. And today I promise to this country that not just on Ayodhya, I will also make a film on Kashmir. I will wake up the people of the country because this has happened to me and it has some meaning. Uddhav Thackeray, this cruelty and the terror, good that this happened with me because there’s some meaning of it. Jai Hind, Jai Maharashtra.”
— (@)
She also tweeted, “Come Udhav Thakeray and Karan Johar Gang you broke my work place come now break my house then break my face and body, I want world to see clearly what you anyway do underhand, whether I live or die I will expose you regardless.”
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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