Raashii Khanna made her acting debut with the Hindi film Madras Cafe and later turned her ways toward South Indian movies. She has featured in many Tamil and Telugu films, and now, the actress is all set for a Hindi comeback with Raj & DK’s next web series which also stars Shahid Kapoor and Vijay Sethupathi.
Recently, while talking to PTI about the series, Khanna said, "It has been a blessing to be a part of the project. Raj and DK are the creators of The Family Man which has changed the way we see OTT shows. The way they treat their female characters is amazing. That's what I have understood working with them. They are extremely sensitive to issues and have no gender bias. They are into breaking those stereotypes, which is why they are these wonderful filmmakers.”
"The kind of storytelling they have, it is not easy to blend in so many characters in a story like this and give each of them the importance they deserve. But they have managed to do it. Every character is so important in their series that it really isn't just 'one-person' thing," she added.
Khanna, who has left a mark with her performances down South, says that she is in a space where she is getting recognition as an actor.
The actress said, "I am definitely in that space where I am getting that recognition as an actor more than just being a part of a film, which is important. Being glamorous and commercial can only take you to a certain place but can really not get you that respect as an actor, which I have always wanted. More than just looking pretty, my job is to act. That recognition is slowly coming now. The slate of projects I have, I am so excited, because it has given me that opportunity to discover myself. Right now, I am making waves and feel more assured but there is a long way to go.”
Apart from the Raj & DK’s series, Khanna will be seen in films like Aranmanai 3 (Tamil), Pakka Commercial (Telugu), Thank You (Telugu), and Sardar (Tamil). She will also be seen in the series Rudra which stars Ajay Devgn as the male lead.
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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