A new book focusing on the seminal works of eminent Indian filmmaker Satyajit Ray revisits each one of his 39 feature films, shorts and documentaries to investigate their cinematic and social context. Titled The Cinema of Satyajit Ray, the book is written by author Bhaskar Chattopadhyay and published by Westland.
The Cinema of Satyajit Ray claims to be an encyclopaedic coverage of Ray's cinema including an essay on each film he directed throughout his career, as well as his documentaries.
“This book is primarily meant to take the films of Ray to a larger audience, to tell them that Ray's films are accessible, that they can be easily understood and that even in all their simplicity, they give us beautiful messages without ever being preachy,” writes the author in the book.
“They tell us stories that we can all understand and relate to, derive joy from and marvel at. If anything, this book is my humble but sincere attempt to break down the invisible, unwritten and omnipresent class system in film appreciation,” he added.
Ray, who is regarded as one of the finest filmmakers from India, directed classics like Pather Panchali (1955), Devi (1960) and Charulata (1964). He won numerous awards throughout his illustrious career, including 32 National Film Awards, a number of awards at international film festivals and award ceremonies, as well as an Academy Honorary Award in 1992. He was honoured with the Bharat Ratna in 1992.
Chattopadhyay, whose literary engagement with Ray's cinema spans years, has spoken to a number of people who had worked closely with the iconic filmmaker, studied his life and works to try and understand the man behind the films.
The book is divided into two sections: “first is about the art and second about the artist”. “Packed with delightful anecdotes and fresh insights, The Cinema of Satyajit Ray is an essential book for every cinephile's library,” said the publishers in a statement.
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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