Diljit Dosanjh’s upcoming film “Jogi” is set during the 1984 anti-Sikh massacre, an event the actor-singer insists should be called a “genocide”.
Violence erupted in Delhi and other parts of the country after former Prime Minister Indira Gandhi was assassinated by her Sikh bodyguards on October 31, 1984. Over 3,000 Sikhs were killed across India. Most were killed in Delhi.
“We should not call it riots, the right word is genocide. When there is a two-sided fight between people, then it is a riot. According to me, it should be called a genocide,” Dosanjh, who was born in January the same year, told PTI in an interview.
Directed by Ali Abbas Zafar, “Jogi” is a Hindi feature film which explores the agony of the Sikh community in the national capital following Gandhi’s assassination.
Dosanjh, who plays the titular role in the movie, said the film is a “collective” view of the real-life incidents that took place in 1984.
The deep-rooted trauma continues to be part of the community, the 38-year-old actor added.
“It is not that it happened to one or a few people. I know it happened collectively, with all of us. If I talk about some incidents, it will be personal. We are talking about it collectively in the film. I have been hearing about it since I was born and we are still living with it,” he said.
“Jogi”, which will be available on Netflix from Friday, is billed as a thrilling and emotional journey of the fighting spirit of three friends, played by Dosanjh, Mohd Zeeshan Ayyub and Hiten Tejwani.
The filming process was also an “emotional” experience for Dosanjh, who plays the happy-go-lucky man Jogi, whose world turns upside down as he sets out to save people including his family in times of adversity.
“We all have heard a lot of stories and we couldn’t believe something like this can happen in life. But, anything can happen. This is not a new story. This film is also talking about the same things that we have grown up listening to.” With “Jogi”, the attempt is to spread positivity, said the actor, and he believes the film will leave a “different impact” on everyone.
“Whatever has happened is there for everyone to see. We have always given a message of positivity. Like in gurudwara, when you seek blessings and then when you are part of a ‘langar’, where everyone sits together to eat food, this is a message of positivity,” he said.
“We all should know about history. Cinema is a medium where we make light hearted and fun-loving movies. But we should also do films on such subjects from history too,” he added.
Kumud Mishra and Amyra Dastur also play pivotal roles in “Jogi”, which is produced by Zafar along with Himanshu Kishan Mehra. PTI KKP RDS RDS RDS
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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