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.
Tamil film industry is left in shock as actor and filmmaker Manoj Bharathiraja passed away at the age of 48. The son of veteran director Bharathiraja suffered a fatal heart attack at his residence in Chennai on March 25. His sudden demise has left fans and colleagues deeply saddened.
Born in 1976, Manoj Bharathiraja followed in his father’s footsteps and built a career in Tamil cinema. He made his acting debut in the 1999 film Taj Mahal, directed by Bharathiraja himself. Over the years, he appeared in notable films such as Alli Arjuna, Samudhiram, Varushamellam Vasantham, and Eeswaran.
The Tamil film industry mourns the sudden loss of actor-director Manoj Bharathiraja, who recently made his directorial debut with Margazhi ThingalInstagram/manoj.bharathi.77
Apart from acting, Manoj had a strong interest in direction. Before stepping into the limelight, he studied theatre arts at the University of South Florida and later assisted renowned filmmakers, including Mani Ratnam and Shankar. He worked as an assistant director on Bombay and Enthiran. In 2023, he made his directorial debut with Margazhi Thingal, a film produced by his father that received critical acclaim.
Manoj married actress Nandana in 2006, and the couple had two daughters, Arthika and Mathivadhani. He was known to keep his personal life away from the public eye, focusing instead on his passion for cinema.
Reports suggest that Manoj had recently undergone bypass surgery and was recovering at home when he suffered a heart attack. His manager confirmed that he passed away in the evening, sending shockwaves across the industry. His father, Bharathiraja, was on his way to his residence when the news broke.
Condolences flooded social media as celebrities, politicians, and fans expressed their grief. Tamil Nadu Chief Minister M.K. Stalin extended his condolences, recalling Manoj’s contributions to Tamil cinema. Veteran composer Ilaiyaraaja shared his sorrow, remembering the close bond he had with Bharathiraja’s family. Actor-politician Khushbu Sundar and director Venkat Prabhu also took to social media to express their shock and grief.
Manoj’s passing is a significant loss to the Tamil film industry. His journey as an actor and director may have been cut short, but his work remains a proof to his passion for cinema. May his soul rest in peace.
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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