In a three-decade-long cinematic journey, Raveena Tandon has received numerous accolades for her work. But it has not been an easy ride always as she has faced struggles too.
In an exclusive interview with ANI, the 'Mohra' star revealed how she lost films in the nineties as a co-star's partner was 'insecure'. "There was a film that was offered to me for which the original star cast was a very big hit pair and me and another person who was a hit pair. But unfortunately for me, that person who was my co-star in a couple of films, started dating one of the heroines who couldn't stand me, who had this real competitive jealousy, rivalry with me," she said
"So she kind of told him that if I see you talking to her or something, I am going to dump you...You can't do more films with her. We were a hit pair. He told me whenever she is going to come on the sets, I am not going to talk to you. I asked why we are friends. I mean there is nothing, you know whom I am dating so what's the big deal, I am dating someone else. So he was like no, no, but don't talk to me when she is around and suddenly one day, I was told sorry you have to leave these films because he doesn't want to work with you anymore," she added.
Raveena said she tried to reason out with the co-star.
"I was like but why? As luck would have it that the producer to whom he went and said or recommended his girlfriend, the producer only dropped him. Said I don't want to sign her because she doesn't suit the role, only Raveena suits the role. Okay fine, if you don't want Raveena for it, then I will drop you and her but I will never sign that girl," she said.
Raveena also talked about her stepping out of films.
"So there were people who stick to their conviction also what the character suits, right? So that does happen as well. It's okay that they didn't ask us for the signing amount back or whatever. I haven't kind of breached the contract, so it's from their (side). And then there are so many times that you do it out of emotion. I remember a very popular film director came up to me and he was in love with his heroine. And he signed me opposite Sunny for some film and he came to my house and said you are like my younger sister, you are my sister. You know I am madly in love with her, I want to marry her but she will kill me and I have signed you this and that. So, please help me make my relationship work. I said no problem, I will step out of the film. And she got the role and I stepped out of the film. That film did kind of well. I have done that also so many times, helped people but nothing worked for them. So, I think, ultimately, it's karma then."
Raveena was recently honoured with the Padma Shri, the fourth-highest civilian award in India.
On the work front, she received a lot of appreciation for her performance in the blockbuster hit pan-India film 'KGF- Chapter 2'.
In the coming months, she will be seen rekindling her on-screen chemistry with Sanjay Dutt after a two-year gap in the romantic-comedy 'Ghudchadi'.
Apart from that, Raveena will also be seen in Arbaz Khan's production 'Patna Shukla'.
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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