Pooja Pillai is an entertainment journalist with Asian Media Group, where she covers cinema, pop culture, internet trends, and the politics of representation. Her work spans interviews, cultural features, and social commentary across digital platforms.
She began her reporting career as a news anchor, scripting and presenting stories for a regional newsroom. With a background in journalism and media studies, she has since built a body of work exploring how entertainment intersects with social and cultural shifts, particularly through a South Indian lens.
She brings both newsroom rigour and narrative curiosity to her work, and believes the best stories don’t just inform — they reveal what we didn’t know we needed to hear.
Karan Johar is gearing up for what he calls the "proudest film" of Dharma Productions. Taking to Instagram, the filmmaker shared a heartfelt note about his upcoming project, which will be directed by a first-time filmmaker. While he didn't reveal the title, fans were quick to guess that the film in question is Kesari Chapter 2.
In his post, Karan highlighted his long-standing commitment to launching fresh talent in the industry. He proudly mentioned that this will be the 24th debutant director introduced under Dharma Productions, subtly addressing criticism that he only promotes star kids. According to him, 90% of these new filmmakers have been outsiders, countering the nepotism debate that often surrounds his productions.
Reflecting on his journey as a producer, Karan recalled his first production, Kal Ho Naa Ho and how his goal has always been to support storytellers and create films that entertain, inspire, or leave an impact. He admitted that some projects succeeded while others didn’t, but the intent was always genuine.
The upcoming film, which has been in development for four years, faced several setbacks, including delays due to the pandemic. However, Karan praised the dedication of the director and the entire team, acknowledging their hard work and resilience. He expressed deep admiration for the actors and crew who stood by the project despite the challenges.
Akshay Kumar and Parineeti Chopra promote ‘Kesari’ in Ahmedabad, March 2019Getty Images
Karan made it clear that while commercial success is never guaranteed, he personally believes this film holds a special place in Dharma Productions' legacy. He ended his note with a hope that audiences will embrace the film with the same passion that the team put into making it.
The announcement, shared on an orange background, sparked widespread speculation among fans, with many assuming it was Kesari Chapter 2. The sequel to the 2019 war drama Kesari, which starred Akshay Kumar and Parineeti Chopra, is expected to feature Akshay Kumar, Ananya Panday, and R Madhavan in leading roles.
Although no official confirmation has been given, excitement is already building for this project. With Karan Johar's enthusiastic endorsement and a strong creative team behind it, the film will be one of the most anticipated releases from Dharma Productions.
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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