Bollywood star Kangana Ranaut recounted her experience when she was “inappropriately touched” in her childhood years by a young man in her hometown in Himachal Pradesh.
The actor talked about the incident on Ekta Kapoor’s reality show Lock Upp, on which she serves as a host after contestant and comic Munawar Faruqui revealed that he was “sexually assaulted” by his relatives when he was around six and that it went on till he turned 11.
Munawar chose to share his "secret" on the ALTBalaji and MX Player series to save his fellow contestant, fashion designer Saisha Shinde, in a task assigned to the players on the episode which premiered Sunday.
"After a point of time, I think they realised that they had gone into the extreme, so they thought they should stop for a while... Once I felt my dad had found out. I can't remember properly but I felt that he had found out... I never felt that sharing about this with the family will do any good," the comedian said.
Kangana praised Munawar for sharing his story publicly for the first time, adding that she too was subjected to "inappropriate touch" in childhood.
"Munawar, so many kids every year go through this kind of harassment but we don't ever discuss this on a public platform. Everyone is touched inappropriately in childhood. Everyone goes through this kind of experience, I have too. In our town, (when) I was very young... a boy who was a few years older than me, he used to inappropriately touch me. But I didn't know back then what it meant. Every child has to go through this no matter however protective their family is," the actor said.
Since sensitising children about "good touch" and "bad touch" is still not easy, it is only fitting that the platform of Lock Upp is being used to bring about awareness about abuse, she added.
"This is a big crisis for children, they can't even be educated about this as they are very young. You can't even sexualise them or tell them the difference between a good touch and a bad touch. And kids suffer so much due to this. They become psychologically traumatised and scarred for life. They face so many issues later on in youth... it is endless. So, we are using this platform to bring about awareness about child abuse and sexual abuse."
Continuing, Kangana said, back in her hometown a youth would call children over and "undress" them. "We were all very young around five-six years old, he used to call us over and undress us. At that time, we didn't understand what was happening to us. There is a huge stigma behind this, especially for men. It is very brave of you, Munawar, that you (shared this) with us," she added.
After Kangana and Munawar shared their respective accounts, Saisha said she was reminded of her own experience.
"This was my first secret. After listening to you both sharing all these, and Munawar talking about how people reacted when he shared it with them, I was reminded... The few people with whom I shared my experience, said to me 'this is why you are so much into sex; this is why you are gay'. After hearing all this, I was never able to gather the courage to talk about it," she said.
Formerly known as Swapnil Shinde, Saisha came out as a transwoman last year through a social media post. She shot to headlines recently for designing the gown worn by Miss Universe 2021 Harnaaz Sandhu at the crowning ceremony in January.
"The stigma will end when we'll talk about it. Today, I'm proud to say that he (Faruqui) is my friend," the designer said.
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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