Sara Ali Khan has some exciting projects in her hands right now. On one hand, she has the romantic film Love Aaj Kal set for its release on 14th February. On the other hand, she is doing Coolie No. 1, an out-and-out comic-caper with Varun Dhawan. Recently, the actress added one more interesting project on her resume, titled Atrangi Re.
In a recent chat, Sara Ali Khan opened up about her role in the movie and her co-actors Akshay Kumar and Dhanush. "Honestly, when I read the script of Atrangi Re, I was not convinced I could do the film. The character is a tough one to pull off, and I want to do one hell of a job trying to prove otherwise. Akshay sir is someone I deeply admire, and Dhanush is a talented and understated actor. The idea is to work with diverse actors,” said the actress who began her acting career with Abhishek Kapoor’s Kedarnath (2018).
When asked about working with Aanand L Rai, Sara said that she likes the way the filmmaker portrays women authentically in his films. “Aanand sir depicts his women authentically, and that is what drew me to the film. Cinema is a director's medium. The filmmakers I work with are sensitive, but I don't involve myself in the writing at all,” she concluded.
Sara Ali Khan is presently busy promoting her immediate release Love Aaj Kal, helmed by Imtiaz Ali. The movie is a sequel to Ali’s 2009 film of the same name, which featured Sara’s father Saif Ali Khan opposite Deepika Padukone. Also starring Kartik Aaryan and Arushi Sharma in lead roles, the romantic film is slated to arrive in cinemas on 14th February, on the occasion of Valentines’ Day.
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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