Netizens troll Resul Pookutty as he calls RRR a ‘gay love story’ and Alia Bhatt ‘a prop’ in the film: ‘Not expected this from an Oscar winner’ | EasternEye
After filmmaker Ram Gopal Varma, Oscar-winning sound designer Resul Pookutty has also called SS Rajamouli’s epic action-drama RRR a ‘gay love story.’
Pookutty, who is known to have worked on a series of notable films over the years, also had a few words to say about Alia Bhatt, who was seen in an extended cameo in the film. He said that the Raazi actress was used as ‘a prop’ in the film.
Starring Ram Charan and Jr NTR in lead roles, RRR hit theatres on March 24. The film opened to positive reviews and set the box office on fire. It wrapped up its box office run by racking up over a thousand crores worldwide. Netflix recently revealed that the Hindi version of RRR has become "the most popular film from India" on the streaming platform globally.
Days after the release of RRR, filmmaker Ram Gopal Varma labelled it as a gay film. Just like Varma, a faction of the Western audience also hinted at a gay relationship between the two lead characters of the film. And now, Resul Pookutty has also expressed his similar views. He was responding to Munish Bharadwaj's tweet where he called the film garbage.
This, however, has not gone down well with fans of RRR who have reacted angrily to Pookutty's comment and added that they didn’t expect such a response from an Oscar winner.
“Not expected this from an Oscar winner (sic),” wrote a user.
Another user tweeted, “There is no shame & harm even if it's that kind of story #LGBT. Did not expect such low comments from an Oscar award winner. Respect should be given to the profession irrespective of its language & even if it does not satisfy us (sic).”
There were some fans of the film who felt that his comment reeked of ‘jealousy’. One user wrote, “Sad he is behaving like a troll”.
Keep visiting this space over and again for more updates and reveals from the world of entertainment.
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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