You don't learn filmmaking on a set but from life, says Vishal Bhardwaj, who is a proud but anxious father ahead of son Aasmaan Bhardwaj's directorial debut "Kuttey", a film he knows will inevitably be compared to his 2009 hit "Kaminey".
However, Bhardwaj -- one of the most respected directors in Hindi cinema and famous for his Shakespearean trilogy of "Maqbool", "Omkara" and "Haider" -- is not bothered by the comparison. In fact, he would love to see a crossover between Aasmaan's "Kuttey" and the Shahid Kapoor and Priyanka Chopra-starrer as both movies belong to the same caper genre.
"I was happy but at the same time, I was concerned because filmmaking is a stressful job. It's a difficult profession," said Bhardwaj, recalling the first time Aasmaan told him about his decision to follow in his footsteps.
"You have to manage so many people, from writing the script to finding the right actors and technicians. You are doing event management all the time. Whenever you get a little time, you try to realise your vision," the filmmaker told PTI in a telephonic interview from Mumbai.
With a stellar cast in Naseeruddin Shah, Tabu, Konkona Sensharma, Arjun Kapoor, Radhika Madan and Kumud Mishra and a quirky title, "Kuttey" seems to have invited comparisons with Bhardwaj's filmography.
The story revolves around three gangs who cross each other's paths on a rainy night in the outskirts of Mumbai. What follows is bullets, blood and betrayal.
"I knew that the film was going to be compared to 'Kaminey' but Aasmaan has his own voice and I have my own voice..." he said.
Citing the examples of Guy Ritchie films such as "Lock, Stock and Two Smoking Barrels" and "Snatch", Bhardwaj said the only Indian titles he could recall in the caper genre are "Kaminey" and Abhinav Deo's "Delhi Belly" (2011).
"Caper films are a tough genre to pull off. We can continue this genre and the next film that we make could be 'Kuttey Kaminey' where all these characters criss-cross. It would be so good to see Shahid, Tabu, Arjun, and all of them together in a movie." The director, who has named one of his dogs after Irrfan Khan's character of 'Roohdar' from "Haider", said canines are the most loveable animals but the title of "Kuttey" has come from how the term is used colloquially in India.
"We have used 'Kuttey' in that context. Here, everybody is a dog and out there to deceive the other," he added.
Some of the comparisons may also have to do with how "Dhan Te Nan", the hit track from "Kaminey", makes a comeback in "Kuttey" as "Phir Se Dhan Te Nan".
Bhardwaj, 57, revealed he had written the song for a "Kaminey" follow-up that never came to fruition.
"I had made the song long back when I was working on a 'Kaminey' sequel. That film could not materialise but Aasmaan knew about the song and he asked to use it in the background of his film. I resisted but gave in to the director's demand." Bhardwaj said Aasmaan, who studied filmmaking from the School of Visual Arts in New York, had a fascination for cameras since his childhood.
Production designer Samir Chandra, who worked with him on films such as "Omkara" and "Kaminey", crafted a wooden camera for his son. Aasmaan received his first video camera as a gift from Shah, he said.
A young Aasmaan, Bhardwaj recalled, would keep his wooden camera right next to the real camera to take the shot.
"But you don't learn filmmaking on a set, you learn filmmaking from life. Filmmaking is a technical job that anybody can do, but portraying lives on celluloid, for that, you have to learn life. I am not worried about his craft. How much life he has learned, we are yet to see that." The story of "Kuttey" was one of the three scripts that Aasmaan, who majored in screenwriting, wrote for his thesis at the film school. His son's professor liked the story and when Bhardwaj read it, he too was impressed.
"That's where I got involved as a co-writer and wrote the dialogues and additional screenplay." Through Aasmaan, Bhardwaj could also recall the early part of his journey as a filmmaker.
"He (Aasmaan) is young and it's his first film. In your first film, you are fearless, you are not stressed. That's how I was. 'Makdee' was my first film but I would take 'Maqbool' as an example. I was fearless in 'Maqbool'." Asked whether there were any clashes between them, the director said it took some time but they eventually found a middle ground.
"When he started shooting his film, he started with the toughest scene possible... I kept telling him that 'You should start with a simple sequence.' As a parent, you can only warn. After shooting for four days, he came to me... After that, he started listening to me... He gradually realised he has to listen to me like a senior director or producer." The cast of the film is a mini reunion of actors from Bhardwaj's previous films "Maqbool", "Omkara" and "Pataakha". The director said he insisted that the actors come on board only if they like the script, not because it was his son's debut.
"It was easy for Aasmaan to approach them but I told everyone 'Don't do this film because he is my son. You should listen to his script. If he gives you confidence as a director, do it only then'. Aasmaan used to go and narrate the script to everyone. Like Naseer bhai said 'I know Aasmaan, I don't need to read the script', but I still insisted." Credit for casting Tabu goes to Luv Ranjan, co-producer of "Kuttey", he added. She plays a cop in the film, a part that was originally written for a male actor.
"It was Luv Ranjan's idea that we change the gender of the character and bring in Tabu. I jumped on that. It's a very colourful character. I approached Tabu and she loved the part but she asked, 'Do you think I should be doing this kind of role, the language that I am speaking?' It took her little time but when she came, she was on fire." Bhardwaj and singer-wife Rekha have co-produced "Kuttey" alongside Ankur Garg. It will hit the screens on Friday.
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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