Maddock Films’ Teri Baaton Mein Aisa Uljha Jiya, starring Shahid Kapoor and Kriti Sanon in lead roles, has hit cinemas. The film invites audiences to think about whether artificial beings can truly experience emotions akin to those of humans. The trailer and the songs received positive responses from the audience, but does the whole film succeed in meeting their expectations? Let’s find out.
Based in Mumbai, Aryan Agnihotri (Shahid Kapoor) is a successful robotics engineer who lands in the US to work on a new project under the tutelage of his aunt Urmila (Dimple Kapadia), who owns a multi-million robotics company. Unbeknownst to Aryan, Urmila tasks her manager, Sifra (Kriti Sanon), a robot, to take care of her nephew. Aryan falls in love with Sifra but is left heartbroken when he comes to know the reality. However, he is unable to control his feelings for her and decides to test if a robot like her can really replace a human being in a chaotic country like India. He convinces her aunt to send Sifra to India so that he can test her in his own crazy Indian family that is obsessed with getting him married. What happens next forms the crux of the story.
Writer-director duo Amit Joshi and Aradhana Sah’s Teri Baaton Mein Aisa Uljha Jiya offers an interesting blend of sci-fi and romance that explores the complexities of love with someone who is not a human. The film looks fresh and captivates audiences with its stunning visuals and thought-provoking narrative.
At the heart of the story is the captivating performance of Kriti Sanon as Sifra, a sophisticated robot with advanced artificial intelligence. She is designed to read and understand human emotions and behaviours, yet she relies on humans to function properly. Sanon brings a delicate balance of vulnerability and strength to the role.
Shahid Kapoor, on the other hand, also delivers a compelling act as Aryan, who is so much in love with Sifra that he decides to introduce her to his family as his girlfriend. Their burgeoning connection forms the emotional core of the film, as Aryan grapples with the ethical implications of his feelings for a machine. Kapoor and Sanon’s chemistry is commendable. Dimple Kapadia is impactful in her role.
Visually, Teri Baaton Mein Aisa Uljha Jiya is a feast for the eyes, with stunning cinematography. The CGI and VFX in the film are properly done. The main issue with the film is its slapdash script, which goes haywire in the second half. The makers seem to have worked hard on making the film look visually appealing rather than powering it with a strong script. Joshi and Sah had a solid concept in their hands, but they failed to exploit its full potential.
Having said that, Teri Baaton Mein Aisa Uljha Jiya still makes for a good watch with family. It has emotions and dollops of laughter to keep you invested.
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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