Homosexuals are normal people, says director of 'Kaathal'
Baby said while he had been listening to many stories on the LGBTQ+ community for nearly two years, he was not convinced about anything before his film Kaathal.
It is a worrying trend that films in India today go through many forms of censorship, said Jeo Baby, whose recent film Kaathal – The Core shows Malayalam superstar Mammootty as a homosexual man, resetting the narrative of the gay community in popular cinema. The sensitive portrayal devoid of gay tropes – for long, the community has only been fodder for humour – won many hearts.
"But I'm afraid about what is happening in India right now. We are facing religious and political censoring. It is worrying not only for filmmakers, but all artists," Baby told PTI in an interview.
Censorship is not something new to Baby, a self-proclaimed problem-maker. In January 2021, when he was set to release his other critically acclaimed film, The Great Indian Kitchen, starring Nimisha Sajayan – which succinctly brought out how society stifles women and their freedom – Covid-19 restrictions made theatrical release impossible. But popular OTT platforms were not ready to touch the film, as the film also tackled a socio-political issue that was playing out at that time – menstruating women's entry into Sabarimala temple. He finally had to release the film on a Malayalam streaming platform, Neestram.
Luckily for Baby, just like Kaathal, The Great Indian Kitchen too captured people's hearts despite the heaviness of the subject. And all those trending hashtags forced the mainstream OTT platforms to review their decision. Finally, three months after its release, Amazon Prime got the rights to the film.
Baby said artists must stand firm for their creative freedom.
"...unfortunately, some people are giving in. Like the recent withdrawal of the film (Tamil film 'Annapoorani' was pulled off the OTT platform for hurting religious sentiments). In effect, they are accepting that they are doing a crime or something. That's not good for the cinema or the artist or the society," said Baby.
Overcoming challenges is part of the deal when one takes on the institution, said Baby.
"Back when I was a film student, the short film I made in 2007, Secret Minds, was about homosexual people. I was expelled from my film institute for that film," said Baby.
Ironically, 17 years later, a full-length feature film on the same subject brought him fans from across India, standing testimony to the fact that things change with time, something that artists can derive hope from, he added.
"There is no connection between the short film and Kaathal. Decriminalisation changed the status quo of the community in 2018. Kaathal is more about that. But since 2005, I have been studying a lot about this community. I read a lot about sexuality, about homosexual people, about LGBTQ+… I know they are normal people," said Baby.
And when an opportunity presented itself to showcase them as normal people, he took it gladly, said Baby.
"The film was well received, but a lot of people also criticised Mammootty, who has done a lot of hyper-masculine characters, for playing Matthew. The LGBTQ+ community is still facing a lot of issues in our country. But hopefully, looking at how people are accepting. Kaathal, maybe they will one day get to live a normal life," said Baby.
Although giving in to societal pressure is no option, Baby said there is no point either in rushing to the goalpost without a ball.
For instance, Baby said while he had been listening to many stories on the LGBTQ+ community for nearly two years, he was not convinced about anything before Kaathal.
"I know Kaathal was different because it is also about how innocent people suffer due to social conditioning and archaic laws. The content of the film made me confident, even though there were these niggling doubts about its acceptance. Fortunately for me, we have a wonderful audience in Kerala, who set the ball rolling," said Baby.
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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