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.
Vidya Balan urges Hindi filmmakers to rethink how women-led films are written.
She calls for stories that highlight joy, playfulness, and sensuality, not just pain or struggle.
The Tumhari Sulu star admits she hasn’t come across a single exciting female-led script in a while.
Post-pandemic caution, she feels, has stifled creativity and risk-taking in cinema.
Vidya Balan, known for shifting the narrative around female characters in Bollywood, is calling on filmmakers to shake things up once again. The actor believes Hindi cinema needs to reimagine women’s stories, not with heavier plots or louder messages, but with joy, playfulness, and creative risk-taking.
“In Hindi cinema, especially in women-led films, there’s a need for reinvention,” Balan said in an interview. “Most of the stories I read are so intense. Like, women aren’t having fun anymore. And I want to have fun.”
Her call comes at a time when many women-led films tend to revolve around trauma, sacrifice, or struggle, formulas that Balan says no longer excite her. With a career full of path-breaking roles like The Dirty Picture and Kahaani, her thoughts carry weight in an industry where female characters often carry emotional baggage more than plot freedom.
Vidya Balan says she hasn’t read a single female-led script that feels fresh or exciting Instagram/thepeacockmagazine_
Why is Vidya Balan asking for ‘fun’ in female-led stories?
According to Balan, while intensity has its place, the absence of levity and sensuality in current scripts is glaring. “I haven’t read a single script recently that made me say ‘wow,’” she said, referencing how her role in Tumhari Sulu was one of the few that felt truly joyous.
She wants stories that show women enjoying life and not just balancing careers, relationships, and personal trauma. “Even Chaplin-style humour, something light and whimsical... that’s what I want now,” she added, half-laughing.
When she says “make it sexy,” Balan is quick to clarify: it’s not about the physical. It’s about storytelling that’s magnetic, charming, and full of spark, something that feels missing in the current crop of women-centric narratives.
Why post-pandemic cinema feels more ‘cautious than courageous’
The pandemic, Balan feels, has changed the way both creators and audiences engage with film. “We’re so bogged down by stress and fear, we’ve become too cautious,” she observed.
She believes that in trying to stay safe or socially relevant, films have stopped being imaginative. “But the truth is, courage is what makes a story stick,” Balan argued, recalling how The Dirty Picture had many people warning her not to do it. “People said it would end my career, but I was sure of it. And I’m glad I did it.”
What does Vidya Balan want from the next wave of Hindi films?
Simply put: more life. Vidya Balan is not asking for scripts that ignore complexity, but ones that don’t shy away from joy, pleasure, or humour either. She wants to see women who mess up, laugh loudly, seduce confidently, and live fully on screen.
“We’re having more fun in real life now than ever before,” she pointed out. “So why shouldn’t that reflect in the films we make?”
Vidya Balan says post-pandemic films have become too cautious and female stories have lost their spark Instagram/thepeacockmagazine_
Her message to writers and directors is clear: step away from formula, embrace risk, and let women lead stories that don’t just endure pain, but celebrate pleasure too.
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.
By clicking the 'Subscribe’, you agree to receive our newsletter, marketing communications and industry
partners/sponsors sharing promotional product information via email and print communication from Garavi Gujarat
Publications Ltd and subsidiaries. You have the right to withdraw your consent at any time by clicking the
unsubscribe link in our emails. We will use your email address to personalize our communications and send you
relevant offers. Your data will be stored up to 30 days after unsubscribing.
Contact us at data@amg.biz to see how we manage and store your data.