Schirkoa: In Lies We Trust, a sci-fi animation movie from first-time filmmaker Ishan Shukla, will have its world premiere at the 2024 edition of the International Film Festival of Rotterdam (IFFR).
The movie, which features an ensemble voice cast of Golshifteh Farahani, Asia Argento, Soko, Shabaz Sarwar, Tibu Fortes, King Khan, Denzil Smith, and John Sutton, will be screened as part of the festival's Bright Future programme, a press release said.
According to the IFFR organisers, the segment showcases a selection of feature-length debuts, characterised by original subject matter and an individual style, representing the cutting edge of contemporary filmmaking.
Schirkoa: In Lies We Trust chronicles the story of a dystopian world where people are made to wear paper bags over their heads to dissolve differences.
The well-oiled system starts crumbling when whispers of a land where freedom reigns begin to spread. The hero, a fresh council member in love with a free-spirited girl, finds himself involved in a complicated net of incidents that open his eyes to a new reality, the official plotline read.
The movie is based on Shukla's 2016 short film of the same title, which was screened at over 120 international film festivals, won multiple awards, and was longlisted for the Academy Awards.
"Schirkoa: In Lies We Trust is the culmination of my decade-long journey dedicated to crafting a film that transcends boundaries and mediums. I am truly exhilarated that this narrative, reflecting our zeitgeist, is on the brink of being unveiled to the world," Shukla said.
The animated film also features guest voices of filmmakers Karan Johar, Shekhar Kapur, Anurag Kashyap, actor-singer Piyush Mishra, Filipino director Lav Diaz and French auteur Gasper Noe.
Schirkoa: In Lies We Trust is an Indo-French-German co-production between Red Cigarette Media, Shukla’s Vadodara-based animation studio, Dissidenz Films, and Rapid Eye Movies, in association with Civic Studios, and French Sofica Cofinova 18. It is executive produced by Civic Studios’ founder Anushka Shah and co-produced by Samir Sarkar.
The International Film Festival of Rotterdam will be held from January 24 to February 4.
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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