FILMMAKER Vikramaditya Motwane, whose new Netflix series tells the story of a former superintendent of one of India’s most prominent jails, said it was a chance for him to explore a “tough and complicated” world.
Black Warrant has been adapted from the book Black Warrant: Confessions Of A Tihar Jailer by Sunil Gupta, a former superintendent of Tihar, and journalist Sunetra Choudhury
Based on true events, the prison drama revolves around Gupta who, with his two trusted fellow jailers, confront notorious inmates in Delhi’s Tihar jail and the deep-rooted politics in the 1980s.
The series will debut on Netflix on Friday (10).
“I’m a student and lover of contemporary history and I like to shine a light on it in an interesting, entertaining and engaging way. That’s my approach to everything. I love filmmaking and I’m up for a challenge every time to try something (new),” said Motwane.
Zahan Kapoor, the grandson of late cinema legend Shashi Kapoor, makes his series debut with the show.
Motwane said Black Warrant offered him an opportunity to explore a hidden world that is “tough, complicated, and full of contradictions”.
He previously helmed Sacred Games on Netflix and Jubilee on Prime Video.For the new show, Motwane visited Tihar jail and also talked to Gupta to understand the day-to-day operations in prison, including how inmates pay for water and gangs operate inside the premises.
“I told my crew constantly, ‘you are a fly on the wall’, or you are peeping into somebody’s room and feel like you are taking vicarious pleasure out of what is happening on screen. That’s been the operative mantra throughout,” he said in an interview.
“There is something voyeuristic about looking at a jail. There’s an intrigue about what happens inside – what are the people like? Are they all criminals? Are there any silver linings?”
Zahan Kapoor in a scene from Black Warrant
When Motwane read the book, he said the relationship between Gupta and serial killer Charles Sobhraj was so compelling that he decided to guide the audience into the prison through Gupta’s perspective.
“The lens was always about Sunil’s story. If he is the centre of the wheel, then what are the spokes that are going to go around – so him with his colleagues, family and relationship with prisoners. That’s always been the focus of it,” Motwane said.
“Sunil’s journey through Tihar Jail provided a unique perspective like no other to capture that complexity. The trailer (which dropped last week) is just a glimpse of how the series will peel back the layers of a world that is as brutal as it is complex as it is fun... I can’t wait for viewers to uncover the humanity and grit within this powerful narrative,” he added.
American filmmaker David Fincher’s series Mindhunter also served as a “minor inspiration”, Motwane said.
Gupta said he wanted to shed a light on life in prison through his book. “People should know what is happening inside the jail... For prison managers, it is important they know what the conditions were back in the 1980s, and to take curative steps to resolve things. Much was to be done,” he said.
“Certain incidents mentioned in it are very emotional. There were certain things that I wanted to tell the public – like drugs were very prevalent from 1981 to 1984; there were exhortation rackets; inhuman treatment of the prisoners. I was aware of some incidents, which we incorporated in this book,” he added.
Choudhury said it was magical to see her words come to life on screen. “When you write a book... you always imagine what this world is like and it is up to the readers, they think about it. So for me to watch it, it was like, ‘Oh my god, we wrote something, now it is flesh and blood’.”
Black Warrant also stars Rahul Bhat, Paramvir Singh Cheema, Anurag Thakur and Sidhant Gupta. It features special appearances from actors Rajshri Deshpande, Tota Roy Chaudhary and Rajendra Gupta.
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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