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.
Karachi recently hosted a rave night like no other, and one unexpected “guest” got everyone talking: Kareena Kapoor Khan! A video from the event has gone viral, showing what looks like the Bollywood actress dancing to electronic beats. But before anyone jumps to conclusions, no, she didn’t actually cross the border to attend a party in Pakistan. What attendees saw was an AI-generated avatar of Kareena, projected on a massive screen.
This surprising moment unfolded at what was claimed to be Pakistan’s first full-blown audiovisual rave, organised by DJ Hamza Harris. As the DJ dropped a remix of Kabhi Khushi Kabhie Gham’s title track, the screen lit up with a digital version of Kareena in a pink dress, mouthing her famous line, "Yeh kaun hai jisne mujhe mudh ke nahi dekha?"
The DJ later posted about it on Instagram, explaining the inspiration behind the concept. While rewatching the iconic 2001 film, he got the idea to build a techno track around Poo’s signature moment. He figured if he was going to play the remix live, it needed a powerful visual and who better than Poo herself?
Reactions online have been a mix of admiration and confusion. Some fans were thrilled by the blend of nostalgia and technology, while others weren’t impressed by the animation quality. One user joked, “Kareena looks like she’s late for a board meeting, not a rave.” Others were more supportive, calling it “next-level creativity” and tagging Kareena and filmmaker Karan Johar in hopes they would notice.
Kareena Kapoor's iconic ‘Pooh’ avatar reimagined in AI at a Karachi rave, leaving fans stunnedGetty Images
For DJ Hamza Harris, it was about pushing boundaries. He wrote, “No one’s ever done this at a rave before. It was chaotic. It was iconic. The crowd went mad.” He added that Karachi doesn’t need to wait for global festivals to experience AV shows and it can create its own moments.
As the video continues to make the rounds, fans are waiting to see if Kareena herself responds. This AI-fuelled rave moment has made its mark reminding everyone that even 20 years later, Poo is still a pop culture force.
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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