As India celebrates the historic win of RRR (2022) and The Elephant Whisperers (2022) at the 95th Academy Awards, Bollywood superstar Shah Rukh Khan took to his social media handles and congratulated the winners.
Taking to Twitter, Khan wrote, "Big hug to @guneetm & @EarthSpectrum for The Elephant Whisperers. And @mmkeeravaani #ChandraBose ji @ssrajamouli @AlwaysRamCharan @tarak9999 thank u for showing us all, the way to do it. Both Oscars truly inspirational!!"
— (@)
Earlier, Rajinikanth, Ajay Devgn, Sidharth Malhotra, Kajol and many other celebs congratulated the winners.
“Naatu Naatu” from RRR has won the award trumping big names like Rihanna and Lady Gaga. Composer MM Keeravani and lyricist Chandrabose accepted the award on behalf of the team. Singers Rahul Sipligunj and Kaala Bhairava and composer along with director SS Rajamouli and lead actors Jr NTR and Ram Charan were present at the big event.
The Elephant Whisperers, on the other hand, won the Oscar in the Best Documentary Short Film category.
On the work front, Shah Rukh Khan is enjoying the huge success of his latest film Pathaan (2023), co-starring Deepika Padukone and John Abraham. He will next be seen in Atlee Kumar’s pan-India film Jawan. The film also stars Nayanthara, Sanya Malhotra, Vijay Sethupathi, and Sunil Grover in lead roles. Khan also has Rajkumar Hirani’s much-anticipated Dunki in his pocket.
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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