The massive box office success of Dangal in China came as a surprise to superstar Aamir Khan but the actor says it has restored his faith that good stories transcend languages and cultures.
The film created history by becoming the first top- grossing non-Hollywood movie in China with a collection of Rs 872 crore £96.5 million) till Sunday.
"The business in China has really taken us by surprise.
"We had hoped that the film would be loved in China but we never dreamt of this (success). I always believe that language is not a barrier when it comes to creative endeavours and its success in China has proved that," Aamir said.
Inspired by the real-life story of wrestler Mahavir Singh Phogat, who went against a patriarchal society to train his daughters to become champions, the film released in China on May 5.
Aamir says it is hard for him to understand his popularity in the neighbouring country as it is an "intangible" thing. He, however, believes that the audience there connected with the story on an emotional level.
Citing the example of Oscar-winning Italian film Life Is Beautiful, Aamir says, "To me, what matters is that you tell a good story and you touch people's hearts and connect with them on an emotional level. That's what makes a film travel. I have seen this happen with 'Life is Beautiful'."
Hollywood has been wooing China for a while now, but Indian film industry has just woken up to the country's market potential.
Aamir says the reason behind this could be the Indian film industry's long-standing relationship with the home audience.
"We as the Indian film industry, irrespective of the languages, have a huge audience of our own, which we are catering to. I never thought about the other audience because we are so connected with the audience here.
"India is the primary audience that I make films for. It is to the credit of the people in China that they connected so deeply with a film from India. It is humbling as a creative person."
The 52-year-old actor says he first realised that he had an audience in China when his film 3 Idiots did well at the box office there.
"3 Idiots was the time when I realised that people in China were connecting with my work. They also loved PK. I believe the audience in China has connected so well with Dangal because their emotions are similar to ours."
Both Dangal and Baahubali are breaking box office records but Aamir says it would be wrong to pit the two films against each other.
"I don't think we can ever compare two films. Both of them have been loved across the world and are equally good.
"You can't trivialise it by bringing it down to numbers.
"Is Ganga Jamuna a better film than Mughal-E-Azam or Mughal-E-Azam a better film than Mother India? You cannot compare films like that. Good films resonate very deeply with the audiences. Baahubali and Dangal are different kind of stories but loved equally."
Allen Liu CEO E-Stars Media Ltd - distributor of Dangal in China, says with Dangal, Aamir has become a household name in China.
"Aamir Khan's popularity has been steadily increasing since the first movie I imported The Rising - Mangal Pandey since then Lagaan, 3 Idiots and PK gave boost to his popularity in China. But thanks to Dangal, Aamir Khan has become a household name and inspiration for the Chinese Film Industry.
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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