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.
Director Mani Ratnam has addressed the recent debate over English lyrics in Tamil songs, sparked by Anurag Kashyap’s comments questioning their relevance. Kashyap had called the trend of mixing Tamil with English lyrics in South Indian films “pointless,” setting off discussions in film circles and online.
Mani Ratnam, who’s promoting his upcoming film Thug Life, responded to the criticism with a calm but clear perspective. One of the songs from the film, Sugar Baby, features English lyrics, a detail that caught attention in light of Kashyap’s remarks.
Mani Ratnam didn’t dismiss the concerns outright but explained why he sees no problem with using English, as long as it suits the context. “Most of my titles have always been in Tamil,” he said. “But I don’t believe in setting limits like ‘only Tamil’ or ‘only English’. If it works for the film, I use it.”
Mani Ratnam and Kamal Haasan reunite for Thug Life after nearly four decades Getty Images
He made it clear that his choices are not about trying to be trendy or appealing to younger audiences for the sake of it. “It’s not about chasing coolness,” he said. “You use what feels right for the story and characters. Not everything has to follow a set pattern.”
Mani Ratnam also touched on his long-standing love for Tamil language and poetry. Many of his most memorable songs, in collaboration with A.R. Rahman, was inspired from classical Tamil literature. “When we adapt old Tamil poems into songs, it brings out the richness of the language,” he said. “But that doesn’t mean you can’t have a ‘Sugar Baby’ if it fits the vibe of the scene.”
Mani Ratnam and composer A.R. Rahman attend the unveiling ceremony for Hindi movie "Raavan" Getty Images
He rejected the idea that English lyrics dilute the essence of Tamil cinema. “Why lock yourself into one way of doing things?” he asked. “Films are about expression. You don’t have to follow made-up rules.”
Thug Life also marks Ratnam’s reunion with actor Kamal Haasan, 38 years after their landmark film Nayakan. The cast includes Silambarasan TR, Trisha, Aishwarya Lekshmi, and Nasser, promising a wide canvas for storytelling, in any language Mani Ratnam sees fit.
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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