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.
The 2025 Screen Actors Guild (SAG) Awards delivered a night of surprises, emotional speeches, and standout wins, shaking up the awards season just ahead of the Oscars. Timothée Chalamet, Demi Moore, and the casts of Shōgun and Conclave were among the big winners, while Jane Fonda’s Lifetime Achievement Award speech brought a powerful political message to the stage.
Chalamet took home the award for Best Male Actor in a Leading Role for his portrayal of Bob Dylan in A Complete Unknown. His win came as a surprise, breaking the streak of Adrien Brody, who had been a favourite this season for The Brutalist. “I poured everything into playing this incomparable artist,” Chalamet said in his acceptance speech, adding, “I want to be one of the greats.” His victory has now made the Best Actor race at the Oscars one of the most unpredictable in years.
Demi Moore won Best Female Actor in a Leading Role for her performance in the body horror film The Substance. In an emotional speech, she reflected on her journey in the industry, saying, “What we believe is more powerful than what we think. When I believe it, I will see it.” Moore’s win also makes her a strong contender for the upcoming Academy Awards.
The papal election thriller Conclave won the award for Outstanding Performance by a Cast in a Motion Picture, beating out favourites like Anora and Wicked. Ralph Fiennes, who stars in the film, spoke about the importance of community in his acceptance speech. Meanwhile, Shōgun dominated the television categories, winning Best Drama Ensemble and acting awards for Hiroyuki Sanada and Anna Sawai. The show’s success has been “beyond my imagination,” Sawai said tearfully.
Kieran Culkin continued his winning streak, taking home Best Supporting Male Actor for A Real Pain. Zoe Saldaña also added to her accolades, winning Best Supporting Female Actor for her role in the Netflix musical Emilia Pérez. “I’m proud to be part of a union that allows me to be who I am,” Saldaña said, focusing on the importance of individuality.
In the comedy categories, Only Murders in the Building scored big, winning Best Comedy Ensemble and Best Male Actor in a Comedy Series for Martin Short. Selena Gomez, accepting the ensemble award, joked, “Wait, we never win. This is so weird!” Jean Smart won Best Female Actor in a Comedy Series for Hacks, though she was not present to accept the award.
The night also honoured acting legend Jane Fonda with the Lifetime Achievement Award. In a passionate speech, she addressed political issues, drawing parallels to McCarthyism and urging people to stay engaged: “Woke just means you give a damn.”
The ceremony, hosted by Kristen Bell, also paid tribute to the city of Los Angeles, which is recovering from recent wildfires. Bell honoured firefighters in attendance, calling them “the most attractive tables” in the room.
With just days left until the Oscars, the SAG winners hint at possible upsets. Will Chalamet continue his momentum, or will Brody reclaim his frontrunner status? The Academy Awards on March 3 will have the final say.
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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