Pooja Pillai is an entertainment journalist with Asian Media Group, where she covers cinema, pop culture, internet trends, and the politics of representation. Her work spans interviews, cultural features, and social commentary across digital platforms.
She began her reporting career as a news anchor, scripting and presenting stories for a regional newsroom. With a background in journalism and media studies, she has since built a body of work exploring how entertainment intersects with social and cultural shifts, particularly through a South Indian lens.
She brings both newsroom rigour and narrative curiosity to her work, and believes the best stories don’t just inform — they reveal what we didn’t know we needed to hear.
Being part of a high-profile family hasn't shielded Soha Ali Khan from criticism especially when it comes to personal choices that defy conventional boxes. Despite her calm public demeanour, Soha recently shared how she continues to receive unwarranted remarks about her interfaith marriage with actor Kunal Kemmu, even a decade after tying the knot.
Soha and Kunal’s relationship has often been under public gaze, not because of their work in films or parenting approach, but because they come from different religious backgrounds. Married since 2015, the couple has been quietly raising their daughter, Inaaya, while often posting glimpses of their celebrations whether Diwali or Eid. But each post is met with an odd barrage of questions. “How many rozas have you kept?” is one of the recurring comments she sees if she shares a Diwali picture. During Holi, people ask, “What kind of Muslim are you?”
In her candid interview, Soha Ali Khan talks about dealing with religious and parenting stereotypesInstagram/sakpataudi
Soha, now used to such chatter, admits she’s built some emotional distance from it. “It doesn’t bother me,” she says. “But it’s still something I notice.” The way people react reveals more about society’s conditioning than about her own life, she adds.
What’s striking is that this scrutiny doesn’t just stop at religion. Soha has also been questioned for not having a son as though motherhood is incomplete without one. Even well-educated people around her have implied that she’s somehow “falling short,” despite being a hands-on parent to her daughter.
Soha Ali Khan reflects on the pressures of public judgment surrounding her marriage to Kunal KemmuInstagram/sakpataudi
Soha believes much of this judgement stems from deeply rooted social expectations, ones her own family has resisted across generations. Her grandmother, for instance, fought to pursue higher education in an era when women weren’t encouraged to do so. Her mother, veteran actor Sharmila Tagore, too faced questions when she chose to act in films. But both women chose to live on their terms, and Soha sees her own freedom as a direct result of those choices.
“I married at 36, went to Oxford and LSE, became a mother later in life. Nobody questioned me and that’s because of the path carved before me,” she says.
In the end, Soha isn’t here to prove anything. Her life, lived simply and honestly, seems to be the only answer she needs to give.
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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