Produced by Full House Media Private Limited, Tujhse Hai Raabta is currently one of the top-rated shows on ZEE TV. Launched on 3rd September 2018, the show has been running successfully for over a year now.
Actress Sneha Shah, who plays the character of Sampada on the show, says that her character is multi-layered and has evolved over the course of the show. “Sampada is one of my favourite characters. She is the most unpredictable character on the show. She has many shades. This character was initially positive then turned negative and, after a few incidents, she again became positive. Recently, when Sampada's character got reintroduced, it took a sharp U-turn towards the negative side,” she says. “The journey was really surprising and that is what makes it unique,” she adds.
When asked about what she loves the most about her character, she says, “When she was in true love with Atharva, her whole world was Atharva only. And, of course, she is very attached to her mother and son also, which has its own emotional derivations. Sampada is emotionally-driven and this is what I love the most about her,” she says.
Showering praises on her co-stars, Shah says, “All the actors on the set are like one big family. We eat together, we party together, we celebrate many festivals together and I love them all. We love our tea breaks the most. Whenever we get time, we drink tea or coffee together with some homemade snacks.”
Talking about her rapport with producer Sonali Jaffar, the young actress says, “Sonali ma’am is the coolest producer I have ever met. For her, we are like her family. She and her partner, Amir sir, always invite us for many festivals and parties at their home. And whenever they visit the THR set, they always motivate all the actors and other crew members to deliver better work in their respective field. We all love Sonali ma’am and Amir sir.”
Tujhse Hai Raabta also stars Reem Shaikh and Sehban Azim in lead roles.
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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