ZEE5, the leading streaming platform for South Asian content, has added yet another feather to its cap. Its State of Siege franchise, which consists of an 8-episode series State of Siege: 26/11 and a film titled State of Siege: Temple Attack, has become the most-watched franchise on the platform globally.
While State of Siege: 26/11, based on Sandeep Unnithan’s book Black Tornado: The Three Sieges of Mumbai 26/11, was a tribute to the NSG commandos who sacrificed their lives for the country during the dreadful Mumbai attacks in 2008, State of Siege: Temple Attack revolved around Major Hanut Singh, an NSG commando, who is fighting to neutralise a terrorist threat happening in a temple complex.
State of Siege: Temple Attack has recorded viewership in 190+ countries with the highest watch time coming from India, the USA, UAE, Australia and Bangladesh. The film also featured on Ormax Media’s ‘Most-Liked Indian Direct to OTT Films’ of all time. It was not only the most-watched film globally in July but also the highest subscription driver in the month of its launch.
Speaking on the series, Nimisha Pandey, Head, Hindi Originals - ZEE5 said, “At ZEE5, our focus is on exceptional storytelling that resonates deeply with our audiences and cuts across languages to create a lasting impact. We have always aimed at driving partnerships that help us deliver content and characters worthy of grabbing our viewers’ imaginations and, with the State of Siege franchise, we set out to tap into varied emotions, narrating the stories of our brave NSG heroes. We are extremely delighted with the encouraging response to the franchise from our viewers, setting records not just in India but across the world. We look forward to the series growing from strength to strength as more viewers fall in love with our irrepressible State of Siege protagonists.”
Ken Ghosh, Director of State of Siege: Temple Attack, said, “We have all put in great efforts and are overwhelmed by the response. I am glad that this genre is finding favour with audiences and our film with its storytelling and performances is driving the genre lovers to stream in globally.”
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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