Award-winning Indian filmmaker Onir says that WE ARE, the upcoming sequel to his National Award-winning film I AM (2011), is a first-of-its-kind film to explore and celebrate queer lives. Like his original film, WE ARE also includes four stories set in the same four parts of India – Kashmir, Kolkata, Mumbai, and Bengaluru.
"This film is a celebration of queer love and life, my way of celebrating what the Supreme Court verdict means. WE ARE will break different walls in this industry. I can proudly say that when you see WE ARE, you will realise that there has not been a film like this that explores and celebrates queer lives. The film is beyond acceptance stories... it's unapologetic and magnificent. the music too shall react to that spirit. Of being out and proud of who we are," Onir said in a statement.
The film has four songs for each of the four stories, encompassing various emotions of love, desire, loss, and anticipation, and one theme song that is a celebration. "Pritam read the script and is creating songs according to the need of the narrative. As the music represents the community/diversity, we will be working with singers from various parts of India, including Kashmir. We will also be working with at least one queer out and proud artist," the director said.
“My Brother Nikhil (2005) was a first in many ways, so was I AM.... and so will WE ARE," the director said looking back at his journey.
My Brother Nikhil, starring Juhi Chawla and Sanjay Suri, deals with the stigma and discrimination of AIDS patients in Goa through the story of a swimmer, whose life falls apart after his diagnosis. His 2010 film I AM, again starring Juhi Chawla along with Manisha Koirala, Rahul Bose, Nandita Das, and Arjun Mathur, dealt with four different stories of personal struggle and identity.
Music composer Pritam said he was glad to be a part of WE ARE. “It's amazing how Onir continues to make films that he believes in and his WE ARE is no different. And I am glad to be part of a film that is further pushing the envelope to assimilate the LGBTQI community," the composer said.
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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