With his new movie Tiku Weds Sheru premiered on Amazon Prime recently, we list the most brilliant performances of the gifted actor
By Asjad NazirJul 06, 2023
AFTER a decade of struggle, Nawazuddin Siddiqui delivered break out performances in 2012 that kick-started a remarkable rise for the self-made star.
He has become one of India’s most acclaimed and in demand actors, with a series of winning performances in diverse projects that have shown off his remarkable range. His new movie Tiku Weds Sheru premiered on Amazon Prime recently. To mark the new release, Eastern Eye put together his top 10 performances, listed in chronological order.
Dekh Indian Circus
Jethu in Dekh Indian Circus (2011): The actor first got noticed for his award-winning performance in this rural drama, which delighted audiences on the international film festival circuit. The story of parents wanting the best for their children, saw him brilliantly portray the pain and angst of a mute father. He used hand gestures and facial expressions to perfection in a movie that would put him on the radar of multiple producers.
IB Officer A Khan in Kahaani (2012): This critically acclaimed smash hit thriller got Siddiqui noticed by wider cinema audiences. He portrays a special investigator, whose paths cross with a woman looking for her missing husband, who may be a rogue agent. He lights up each scene with his magnetic presence and showed quite comprehensively that he could add real depth to a commercial movie.
Gangs of Wasseypur – Part 1 & 2 (2012): The gangster drama set across two movies was another indicator that Siddiqui had star potential. He goes through an epic transition from devious to ruthless in the story set across different generations. He holds his own in movies loaded with top drawer performances and introduced Hindi cinema to a new kind of grey-shaded role.
Badlapur
Badlapur (2015): The standard revenge drama was taken to a higher level by a villainous turn from Siddiqui. He received multiple award nominations for his powerful role, which added extra nuances to the standard Hindi film villain. The actor received acclaim right across the board for portraying a multilayered character, which combined brutality with a dangerously unpredictable demeanour.
Raman Raghav 2.0
Raman Raghav 2.0 (2016): Perhaps the most chilling character of his career, saw Siddiqui play a vicious serial killer being pursued by a corrupt cop. His character based on a real-life murderer cleverly combined pure evil with a seemingly normal exterior of an everyday man, who blends in with the crowd. The impact of his transformative role was such that it generated a whole load of internet memes.
Manto
Manto (2018): The actor transformed himself to play Saadat Hasan Manto in this 1940s set drama. His performance in the critically acclaimed movie enabled him to take a deep dive into the legendary author and writer’s descent into darkness. And he does it effortlessly, showing that less can be more with great acting that captures the emotional instability of a writer during a turbulent time in India’s history.
Sacred Games (2018-2019): The actor’s power-packed performance as notorious gangster Ganesh Gaitonde added gravitas to this web series. He puts across real danger in his own subtle manner with a role that enabled him to show off different facets of a decidedly dark character, who combined evil with intelligence, in the neo-noir crime thriller adaptation of a best-selling book.
Photograph
Photograph (2019): After delivering an award-winning performance in smash hit film The Lunchbox, Siddiqui teamed up with the same director Ritesh Batra for this unique role that was different from all the others he had played. He packed away the emotional intensity and grey shades to play a likeable street photographer, who finds a special bond in the most unexpected place. There was real warmth in his beautifully normal performance, which didn’t get the credit it deserved.
Raat Akeli Hai
Raat Akeli Hai (2020): The actor took on the challenging role of a no-nonsense police officer, who is called upon to investigate a murder and finds himself being strangely drawn to a suspect. Another magnificently multilayered performance saw him combine a brooding intensity with unpredictable actions and emotions that bubbled away under the surface. He creates real chemistry onscreen with Radhika Apte, as he has done with co-stars throughout his career.
Serious Men
Serious Men (2020): The satirical comedydrama, based on a best-selling book, was one of that year’s finest Bollywood films. The positive reviews were largely thanks to the effortless way chameleon like actor Siddiqui slipped into a multilayered role, which enabled him to be submissive, dominant, devious, and so much more. He used his body language, expressions, and voice perfectly in a role of a man using an ingenious con to get ahead in life. He made the role relatable to anyone held down by society, wanting to push back.
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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