Shivani Mehra's short film speaks about power of possibility
The director discusses Me, Raani, the experience of making it, inspirations, and her own filmmaking hero.
By Eastern EyeApr 28, 2024
TELLING a compelling story in a short film takes a lot of skill, and Shivani Mehra has quite comprehensively demonstrated that with Me, Raani.
After working as an assistant director on feature films such as Jhalki and BabumoshaiBandookbaaz, she has delivered an empowering female-led film about rising up in the most challenging circumstances.
The Indian writer/director has high hopes for her beautifully shot film and is aiming for major international accolades.
Eastern Eye caught up with a young filmmaker you will be hearing a lot more about to discuss Me, Raani, the experience of making it, inspirations, and her own filmmaking hero.
What first connected you to filmmaking?
The connection with filmmaking started from writing. It is my first love. Writing gave strength to my thoughts and voice to the introverted child in me. I added visuals to my words in drawings and wrote poetry to express.
My mother has been a great influence too because of her undying love for old Hindi films.
What inspired your short film?
Me, Raani was inspired by a post shared by Mr Anand Mahindra in 2019.
He shares a lot of innovative, motivational content but this one post struck out, simply because it challenged the narrative of poverty in India and intrigued me to knit the short film. It literally came with a force and has manifested its way to reality.
Tell us about the film.
The film is set in a remote village of Maharashtra revolving around the lives of Raani, a nine-yearold girl and Anju, her mother.
Anju, like any mother, wants the best for Raani and Raani does understand that, but in her own way.We see their hardships, victories, problems, and solutions.
What is the key message of the film?
My attempt with this film is to say that anything is possible once you put the right energy and intention in place. The world can rob you of everything but not your will, and that being a ‘queen’ is an attitude and not only a title.
Who do you hope this film connects with?
I wish for this film to reach the younger audience so that they are motivated to look at the brighter side of things in the doom of convenience today.
What inspired the interesting title of this film?
It was obvious. Raani in Hindi means queen and the way she leads her life is the attitude of a queen, hence proving that the riches alone can’t make you a queen if you don’t think like one.
A still from her film, Me, Raani
What is your favourite moment in the movie?
It is really difficult to say because I have been living this for almost two years now. However, my favourite would have to be the relationship between the mother and daughter played beautifully by Priyanka Zemse and Bhavika Parde.
Did you learn anything while making this film?
Yes. I am a completely different person now. The amount of patience it takes to make a film in a language that you don’t understand is a task, but you learn to put the film above all and work towards making the best out of it.
Who is your own filmmaking hero?
Mr Satyajit Ray. The simplicity and depth in Mr Ray’s stories and filmmaking is hauntingly beautiful. I will always be in awe of how simply and yet very powerfully his characters communicate and exist.
What inspires you creatively?
People inspire me. I often roam in buses around the city and just observe for hours without any purpose. Every face has a story to tell, maybe not in words.
What is the plan going forward?
The plan this year is to take Me, Raani to as many film festivals as possible and for it to reach the right audiences’ and for it to make it to the Oscars 2025 consideration list.
My dream come true would be Me, Raani getting nominated.
I will also be working on two more short film projects to be shot later this year.
Why do you love cinema?
Simply because you can create, re-create, alter anything in the universe you are making. It’s a very powerful method packaged in the most subtle, beautiful way to communicate and bring your reality to life.
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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