Saif Ali Khan recently blasted Bollywood for its sudden outpouring of love for late actor Sushant Singh Rajput after he ended his life on Sunday. Khan feels that a day of silence or introspection would be more appropriate than the hypocrisy of pretending to care.
Hitting out at those posting nonsensical comments in the wake of the tragedy, the National Film Award-winning actor says, “There are so many people who have made comments so quickly. And it just seems to me that people are somewhere gaining some mileage from this poor fellow’s tragedy, you know, whether it is to show compassion or to show interest or to show some political stance. So many people are talking rubbish in this nonstop kind of barrage on social media and it is just embarrassing, really, I think.”
The actor goes on to add, “Out of respect for him, for Sushant’s tragedy, maybe a day of silence or introspection would be a little more becoming than this outpouring of love – an outpouring of love from people who obviously did not care about him and people who famously don’t care about anybody else.”
Saif Ali Khan will be seen sharing the screen space with Sushant Singh Rajput in the upcoming film Dil Bechara. Helmed by renowned casting director Mukesh Chhabra, the romantic movie will mark Singh’s final appearance on the silver screen.
About his memories of the late actor, Khan says, “I think he had very refined looks. He was a good-looking guy. He was very talented. He was a little edgy. When I met him, I thought he was a little on the edge. I think he was looking for something. He was interested in the same things as me in some ways. Like he liked astronomy, and he liked, you know, discussing some of this philosophy and talking about some stuff, which, you know, one dabbles in as an amateur.”
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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