Actor Pankaj Tripathi says it was a challenge for him to portray former prime minister Atal Bihari Vajpayee in an upcoming biographical drama movie as he had to accurately capture not only the nuances but also his spirit with the performance.
The biopic, titled Main Atal Hoon, is written by Utkarsh Naithani and directed by three-time National Award-winner Ravi Jadhav.
Tripathi, who currently features in OMG 2, said he wanted to capture the core personality of the character and deliver a performance that would stay with people.
"Doing a biopic is difficult as people have seen this public figure. When people watch the film, they see whether the actor is doing mimicry or not? Or how has the actor captured the nuances, like mannerisms? "I believe it is important to get these outer things correct but what is more important is to understand the person’s thoughts and his core personality, and get that correct. As an actor you must tap into it, because that’s what stays with people,” the 46-year-old actor told PTI.
Produced by Vinod Bhanushali, Sandeep Singh, Sam Khan and Kamlesh Bhanushali, Main Atal Hoon will hit theatres in December.
Tripathi has a slew of upcoming projects, with majority of them being sequels -- Fukrey 3 and Stree 2, as well as series Mirzapur 3 and Criminal Justice 4.
"Doing sequels is easy because you know the world and character. However, at the same time it is boring, because you think, ‘How long will this carry forward, like third or fourth part’. But since it’s a success, maybe it is getting made,” he said.
His latest film, OMG 2, in which the actor played the role of a devotee of Lord Shiva named Kanti Sharan Mudgal, has garnered positive response from the audience. The movie also features Akshay Kumar and Yami Gautam.
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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