India today woke up to the news of yet another win by SS Rajamouli’s blockbuster film RRR (2022) as its popular song “Naatu Naatu” bagged the prestigious Golden Globes Award at a glitzy ceremony held at the Beverly Hilton Hotel in Beverly Hills, California, USA.
Music composer MM Keeravani received the winning trophy and dedicated it to Rajamouli, and also thanked actors Ram Charan and Jr NTR for their performance at the award ceremony.
Additionally, what also captured netizens’ attention was how Rihanna waved at the team of RRR during the ceremony. In a video shared on social media, the pop star, wearing a black velvet bustier dress and voluminous stole from Schiaparelli Haute Couture, is seen waving at the team as she walks by them. The video has been going viral on the internet.
For the uninitiated, Rihanna was also nominated under the same Golden Globes Best Original Song category for her song “Lift Me Up” from Black Panther: Wakanda Forever.
While some are impressed by her gesture that she stopped by the RRR table to congratulate them, others believe she just swept by, ignoring the eventual winners of the night. Watch the viral video here and decide:
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Meanwhile, “Naatu Naatu” is composed by MM Keeravani and penned by Kala Bhairavi and Rahul Sipligunj.
Other songs that were also nominated for the prestigious award along with “Naatu Naatu” include Taylor Swift's “Carolina” from Where The Crawdads Sing, “Ciao Papa” from Guillermo del Toro's Pinocchio, Lady Gaga's “Hold My Hand” from Top Gun: Maverick and, of course, Rihanna's “Lift Me Up” from Black Panther: Wakanda Forever.
About the historic win of “Naatu Naatu”, SS Rajamouli said a statement said, “SPEECHLESS. Music truly knows no boundaries. Congratulations & thank you PEDDANNA for giving me #NaatuNaatu. This one is special. I thank each and every fan across the globe for shaking their leg and making it popular ever since the release.”
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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