2020 has not been a great year for several industries out there, but it has turned out to be an even worse year for Bollywood in particular. The negative narratives built around the Hindi film industry, especially after the tragic demise of talented actor Sushant Singh Rajput, is going to have a far-reaching effect on the reputation of the industry.
Several actors, filmmakers, and writers have expressed their opinion on how Bollywood has been unnecessarily targeted by certain people and media houses. Actress Tamannaah Bhatia is the latest star to share her opinion on the issue.
Talking to a publication, she says, “I think this the worst phase that the industry is going through. It is wrong and unfair to blame the film industry for anything and everything. Because we are always in the limelight and spoken about it just becomes easy to make statements about it. There are good and bad everywhere.”
Bollywood has always been accused of promoting the culture of nepotism and bullying outsiders. Bhatia says that she feels extremely grateful for the kind of opportunities that she has found.
“Yes, I am not from the industry, I do not have a godfather or a mentor. I have done everything on my own. I feel extremely grateful for the kind of opportunities, love, and adulation I have got from the audience. It was something I never expected. So, if you are dedicated, hardworking, and talented, you will survive. Good efforts count,” she adds.
She goes on to add that there are enough opportunities for everyone in today’s time. “Luckily, I got a film like Baahubali that still is one of the biggest hit films in India. I feel it does not matter if you are from the industry or not. In fact, today, more than ever, it is a great time for everyone, especially outsiders because the kind of good content is being generated and work is being distributed purely on the basis of talent. I think being an insider does not promise you more than an opportunity. Most of the biggest stars today are outsiders. Only good work and talent sell,” she concludes.
Keep visiting this space for more updates from the world of entertainment.
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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