Actor Vaani Kapoor is presently busy basking in the success of her latest film Chandigarh Kare Aashiqui, which has emerged as a conversation starter as it aims to present an authentic on-screen representation of trans people in mainstream Bollywood cinema.
Directed by well-known filmmaker Abhishek Kapoor, Chandigarh Kare Aashiqui places the struggles and dilemma of a trans woman, played by Vaani Kapoor, without looking at the community through the lens of victimhood, she said.
The actor, whose turn as Maanvi in the film, has brought her career-best reviews, believes the film has served its purpose of igniting a conversation around trans people and their rights.
"We just wanted to normalise this and break stereotypes. There exists this perception, built over all these years when we were growing up. The reference points we witnessed in films and shows, I think we don't need to live by it today. That is a wrongful representation. A man dressed in a woman's saree is not the correct representation of a trans girl. They are as stunning, beautiful and 'normal' as any other cis girl," Vaani told PTI.
The romantic drama flips the boy-meet-girl trope, when Maanvi's lover, played by actor Ayushmann Khurrana, comes to the realisation that she is a trans woman. The journey, from shock, disgust to embracing and educating, is what Chandigarh Kare Aashiqui captures.
While the film, which opened in cinema halls last week, received positive response, there was a section that felt a trans character, ideally, should have been played by a trans person. Vaani said the film should be viewed as an earnest attempt in starting an important conversation, hoping that someday actors from the community are able to play all kinds of characters and not just the ones limited to their identities.
"We only have a visual reference of a man dressing up to look like a trans girl. So, for a cis girl to play the role would make the majority of the audience think that this is the depiction of a trans girl like, that it is not a man in a saree. At least it is a conversation starter. I hope tomorrow they are welcomed by the audience, there are more stories with different narratives on trans people. I hope we reach a stage tomorrow where a trans girl can play a cis girl's part and blur the lines of identities... and aren't only restricted to playing trans in a film."
Vaani said the movie's biggest strength is its crowd-pleasing appeal, delivering a message without being "preachy". "Maanvi is not cliched. Abhishek never tried to victimise her or made the narrative too dramatic. He created the right balance, which was hard to crack. It is not preachy and caters to all kinds of the audience -- both the progressive and the regressive."
Initially, the 33-year-old actor felt the pressure of playing a trans woman right. Her prep involved speaking to trans girls, understanding their life, their transition, watching documentaries, and talking points from interviews with trans people.
"I just had to be responsible in getting it right. We have ensured that she is viewed in a different way than what we are generally used to seeing in the community that one is trying to speak to or represent. She is not the butt of the joke. You are not trying to invalidate their identity. There are so many beautiful, stunning trans girls. They are well-rounded people. I tried to inculcate all that in this character," she added.
The actor, who previously featured in films like Shuddh Desi Romance (2013), Befikre (2016), and the blockbuster War (2019), said she feels fortunate that her performance has reached out to people, including those from the film industry.
"I feel grateful that people within the industry and outside are liking my performance. They are really giving me the respect of an actor, which feels good. There are few women-driven, fleshed-out parts for women. It is hard to get those. So, when you get them, you want to make the most of it. Mine was an earnest attempt to play the part with utmost honesty. I gave my heart and soul to it," she concluded.
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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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