Radhika Apte opens up about breast pumping at BAFTA and challenges of motherhood
Actor Radhika Apte opens up about balancing motherhood and her career at the BAFTA Awards, sharing a behind-the-scenes moment that resonated with new moms everywhere.
Radhika Apte’s BAFTA Reality—Motherhood, Glamour, and a Glass of Champagne
Pooja Pillai is an entertainment journalist with Asian Media Group, where she covers cinema, pop culture, internet trends, and the politics of representation. Her work spans interviews, cultural features, and social commentary across digital platforms.
She began her reporting career as a news anchor, scripting and presenting stories for a regional newsroom. With a background in journalism and media studies, she has since built a body of work exploring how entertainment intersects with social and cultural shifts, particularly through a South Indian lens.
She brings both newsroom rigour and narrative curiosity to her work, and believes the best stories don’t just inform — they reveal what we didn’t know we needed to hear.
Radhika Apte recently gave her followers a raw and honest look into her life as a new mother juggling work commitments. At the 2025 BAFTA Awards, where her film Sister Midnight was nominated, she shared a behind-the-scenes moment that resonated with many. In a photo posted on social media, Radhika is seen in a bathroom, multitasking with a breast pump in one hand and a glass of champagne in the other. The image showed us a glimpse of the raw duality of her life, balancing the demands of motherhood with the glitz of a high-profile event.
With a funny note, she called it her “BAFTA reality,” talking about the challenges of being a new working mom. In her post, she gave a shoutout to her assistant, Natasha, who made it all possible. Natasha not only helped her navigate the logistics of pumping milk but also brought her champagne in the bathroom—because why not? Radhika pointed out how rare it is to find such understanding and support in the film industry, and she didn’t hold back her gratitude.
Her honesty struck a chord, especially with other moms in the industry. Kalki Koechlin, who became a mother in 2020, chimed in with words of encouragement, while others flooded the comments with heart emojis. Radhika’s post wasn’t just about sharing a moment; it was a reminder of the invisible struggles many new mothers face, often hidden behind the polished images we see.
This year’s BAFTAs marked Radhika’s first big outing since welcoming her baby two months ago. Despite the sleepless nights and the exhaustion that comes with early motherhood, she walked the red carpet with grace, looking stunning in a lilac outfit. In another post, she spoke about the significance of the night, thanking her team for their support. “First big outing after birth… 2 months postpartum… 2 hours of sleep… I couldn’t have done it without the fabulous people in the team,” she wrote.
Sister Midnight, a horror-comedy directed by Karan Kandhari, earned a nod for Outstanding Debut by a British Writer, Director, or Producer. The film, which premiered at Cannes, tells the story of a woman trapped in an unhappy arranged marriage. Radhika’s performance has been widely praised, and the film continues to make waves on the global stage, with screenings at festivals and a planned release in select U.S. theatres.
Radhika and her husband, musician Benedict Taylor, welcomed their first child in December 2024. The couple, who married in 2012, have kept their child’s name and face out of the spotlight, choosing to protect their privacy while navigating the joys and challenges of parenthood. Radhika’s recent posts are a breath of fresh air and a reminder to embrace both the chaos and the beauty of this new chapter, all while staying true to herself.
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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