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.
Director Tharun Moorthy’s Thudarum has drawn attention not just for its gripping storyline, but for bringing back the Mohanlal audiences have longed to see: an actor rooted in emotion rather than spectacle. With critics praising both the writing and performances, Thudarum has emerged as a memorable addition to Mohanlal’s long filmography, with reviewers calling it a return to form.
Across the board, reviewers highlight how the film presents Mohanlal as Shanmugham (nicknamed Benz), a humble taxi driver and former stuntman who now lives a quiet life in a Kerala village with his wife, played by Shobana, and two children. His prized possession is his old black Ambassador car, a gift from a mentor which becomes central to the plot when it’s unknowingly used, setting off a chain of devastating events.
What begins as a slice-of-life family drama slowly unravels into a thriller. Critics note the tonal shift is deliberate and effective. The first act is calm and intimate, allowing viewers to settle into the domestic world of Shanmugham, while the second half dives into more intense and emotionally charged territory. The transformation in both narrative and Mohanlal’s performance has been widely appreciated.
Reviewers also point out similarities to Drishyam, especially in the way an ordinary man is drawn into extraordinary circumstances to protect his family. But unlike the high-stakes, twist-heavy execution of that film, Thudarum leans more into the emotional consequences of its characters' actions.
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The chemistry between Mohanlal and Shobana, though more mature and subdued than their past outings, is another strong point. Supporting actors Binu Pappu and Prakash Varma have been praised for their roles as corrupt policemen, bringing menace without going over the top.
The writing by Tharun Moorthy and KR Sunil has been described as tight and layered. There are clever callbacks to Mohanlal’s earlier films, both iconic and obscure, and touches of self-aware humour. The cinematography and background score also received nods, particularly for how they enhance the film’s moody and melancholic tone.
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While some critics caution that the slow pace in the first half requires patience, the consensus is that Thudarum delivers a rewarding experience. As one reviewer noted, “Mohanlal in mundu, pathos in his eyes, and villains straight out of nightmares, Thudarum is the slow-burn thriller we didn’t know we needed.”
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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