Need of religion much less in today's world: Anurag Kashyap
According to Kashyap, the genesis of every religion comes from the “need of trying to bring people together to protect them in old times” when scientific knowledge was not available.
Filmmaker Anurag Kashyap says the world today needs more education and less religion as faith has become merely a tool in the hands of the powerful to peddle their agenda.
Kashyap, who has produced Shazia Iqbal's acclaimed short Bebaak, starring Sarah Hashmi and Nawazuddin Siddiqui, said he decided to support the young director's voice as her script became a window into the world he had not seen.
Based on true events, the 20-minute movie is a peek into the life of an aspiring architecture student Fatin Khalidi (Hashmi), who is reprimanded by a religious leader (Siddiqui) for not wearing a hijab (headscarf) during a scholarship interview.
According to Kashyap, the genesis of every religion comes from the "need of trying to bring people together to protect them in old times" when scientific knowledge was not available.
"People, over a period of time, have discovered so much more with science. I feel in today's world, the need for religion is much less. The need for education is much more but religion has now become a tool in the hands of the powerful and politicians to propagate their own agendas," the 51-year-old director told PTI in an interview.
Also starring Sheeba Chadha and Vipin Sharma, the award-winning short Bebaak is streaming on JioCinema as part of a film festival.
Kashyap, who calls education a privilege afforded by a few, said films like Iqbal's introduce him to different worlds.
"The impact of Shazia's writing was so strong on me because there is a perspective that I learned from her script. I haven't seen that world. In my world, I know what we have to do to get a scholarship.
"There are many worlds that I haven't seen. You get to know a person more through their work, writing, or filmmaking. Shazia can't help but be honest, it is her problem she cannot lie. So I thought this film needed to be made," he added.
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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