Sharad Kelkar was one of the most sought-after actors on Indian television when he decided to take a break from the small screen and explore opportunities in films. Over the past few years, he has delivered amazing performances in several notable films, including Goliyon Ki Raasleela Ram-Leela (2013), Tanhaji: The Unsung Warrior (2020) and Laxmii (2020).
After playing supporting characters in a number of films, Kelkar is now graduating to a solo role in the upcoming Hindi film Deja Vu, expected to enter theatres towards the end of the year. Though the talented actor is psyched up about his first solo lead film, he refuses to get weighed down by any sort of pressure that generally leading roles come with.
“I chose the project very carefully and wisely. It is not a big-budget film where a lot of money is riding on me, because the content is very good. I believe that the film will be appreciated because of the way we shot it and I have full faith in the director Abhijeet Warang,” says Kelkar.
The actor, who was last seen in ZEE5’s Darbaan (2020), goes on to add, “I am not feeling any kind of pressure. If you take the pressure, things might go wrong, and if you don’t take any pressure, they go very smoothly.”
Apart from Deja Vu, Sharad Kelkar has several interesting projects lined up for release in the next few months, including Bhuj: The Pride of India and Jersey. Both projects are ready and are waiting for their release. While Bhuj: The Pride of India is set for its digital premiere on Disney+ Hotstar, Jersey is poised for a theatrical release on November 5, 2021, on the auspicious occasion of Diwali.
Kelkar also essays an important character in the Tamil-language film Ayalaan, which marks his debut in Kollywood. In Marathi, he will be seen in Paavan Khind.
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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