Sonakshi Sinha and Vijay Varma along with the Dahaad team on Thursday attended the series premiere at the Berlin International Film Festival.
The crime drama competed against seven shows from across the globe and opened to a thunderous response from the attendees who witnessed the global premiere.
After Gully Boy in 2019, Dahaad will be Excel Entertainment & Tiger Baby's second showcase at the Berlinale.
In the picture, Sonakshi, Vijay Varma, filmmakers Zoya Akhtar, and Reema Kagti along with the team of Dahaad.
Sonakshi was seen dressed in a shimmery black shimmery outfit while Vijay Varma opted for a white suit.
Directed by Reema Kagti and Ruchika Oberoi, Dahaad also stars Gulshan Devaiah and Sohum Shah in the lead roles.
The show is set in a small, sleepy town in Rajasthan. The eight-part, slow-burn crime drama that follows Sub-inspector Anjali Bhaati (Sonakshi) and her colleagues at the local police station unravel a curious case.
When a series of women are mysteriously found dead in public bathrooms, Sub-Inspector Anjali Bhaati is tasked with the investigation. At first, the deaths appear to be clear-cut suicides but as the cases unravel, Anjali begins to suspect that a serial killer is on the loose. What follows is a riveting game of cat and mouse between a seasoned criminal and an underdog cop as she pieces together evidence before another innocent woman loses her life.
Dahaad is created under the banners Excel Entertainment and Tiger Baby.
The series is produced by Ritesh Sidhwani, Zoya Akhtar, Reema Kagti, and Farhan Akhtar.
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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