Well-known Indian playback singer Krishnakumar Kunnath, popularly known as KK, died on Tuesday, May 31. He was in Kolkata for a concert at Gurudas College in the Ultodanga district. He was 53.
According to initial reports, Kunnath felt chest congestion after the concert and was rushed to a private hospital in the city.
He was “brought dead” to Kolkata’s CMRI Hospital around, hospital authorities told an Indian publication.
“It’s unfortunate that we could not treat him,” a senior official of the hospital told a newswire.
The multiple award-winning singer has recorded songs in several languages including Hindi, Tamil, Telugu, Kannada, Malayalam, Marathi, and Bengali, among others.
Soon after his demise, Indian Prime Minister Narendra Modi expressed his grief at the passing away of the singer. “Saddened by the untimely demise of noted singer Krishnakumar Kunnath popularly known as KK. His songs reflected a wide range of emotions and struck a chord with people of all age groups. We will always remember him through his songs. Condolences to his family and fans. Om Shanti,” he tweeted.
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Politician Rahul Gandhi also took to Twitter to offer his condolences. “Krishnakumar Kunnath, fondly known as KK, was one of the most versatile singers of the Indian music industry. His soulful voice gave us many memorable songs. Saddened by the news of his untimely demise last night. My heartfelt condolences to his family and fans across the world.”
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The versatile musician has sung songs such as ‘Dil Ibaadat’ from Tum Mile, ‘Tu Jo Mile’ from Bajrangi Bhaijaan, ‘Abhi Abhi’ from Jism 2, ‘Tu Hi Meri Shab Hai’ from Gangster, ‘Ankhon Mein Teri’ from Om Shanti Om and many more.
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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