Pathaan is not just a film, it is an emotion: Director Siddharth Anand
“SRK, truly, has been ruling the hearts and minds of audiences for decades and Pathaan marks his return to the big screen after a gap of four long years.”
Siddharth Anand is the captain of 'Pathaan' as he is the one who helmed the film, which stars Shah Rukh Khan, Deepika Padukone and John Abraham in the lead roles.
On Wednesday, the teaser of Siddharth's film was released to mark Shah Rukh's 57th birthday. Talking about his and the team's decision to unveil the action-packed teaser on SRK's bday, Siddharth said, "The craze for a glimpse of Pathaan has been unprecedented. After a long, long time there's insane buzz for a film that is genuine and organic. And it's all due to the superstardom of this one man - Shah Rukh Khan. His fans and we are talking millions of them, have been clamouring for just a peek at him and his film. And thus, there could be no better day to put out the teaser of Pathaan than SRK's birthday!"
He added, "SRK, truly, has been ruling the hearts and minds of audiences for decades and Pathaan marks his return to the big screen after a gap of four long years. So, while we decided to surprise them all on his birthday, the pressure to deliver was immense."
For Siddharth, Pathaan is not just a film, it's an emotion.
"We had to make a unit that justifies their wait to see something of Pathaan as well as the fact that we have chosen his birthday to release the first big asset of the film! It had to be spectacular and memorable at the same time and I think we have managed to make them very happy, given the incredible reaction that we are witnessing for Pathaan's teaser. For us, Pathaan is not just a film, it is an emotion as we are aiming to make the biggest action spectacle with one of the all-time biggest on-screen icons that Indian cinema has ever seen. The teaser is just the beginning to deliver on that promise on the big screen," he shared.
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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