Taapsee Pannu is one of the most accomplished actresses in Bollywood, who can slide into any character within the blink of an eye. If you take a close look at her filmography, you will find a variety of films which range from romcoms to social dramas.
Most recently seen in bilingual psychological thriller Game Over (2019), Taapsee Pannu is now gearing up for the release of her next Mission Mangal. Besides her, the hugely anticipated film also stars Akshay Kumar, Vidya Balan, Sonakshi Sinha, Kirti Kulhari, Nithya Menen and Sharman Joshi in important roles.
While the actress is busy doing some back-to-back content-driven films in Hindi, Tamil and Telugu cinema, she does miss headlining an out-and-out madcap commercial film after Judwaa 2 (2017). In a recent interview, the actress spoke about how she is not being offered masala entertainers.
"I also wish to do some light dance sequences in the films. Undeniably, I would love to be decked up and dressed up in lovely attire on the silver screen while performing in some commercial film,” said Taapsee Pannu.
She went on to add that she awaits offers for commercial films. "But unfortunately after Judwaa 2, I have yet not received any offers to do commercial films. Though, I have no reason to complain as I have a few films keeping me busy,” she concluded.
After Mission Mangal, Taapsee Pannu will be seen in Anurag Kashyap’s Saand Ki Aankh with Bhumi Pednekar. After playing a lawyer in the 2018 film Mulk, Pannu will be reuniting with director Anubhav Sinha for her next project, titled Thappad. She is also in talks for several other films which are expected to be announced soon.
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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