Nobody has really been in a position of Priyanka Chopra Jonas, who has firmly established herself internationally
By Asjad NazirJun 15, 2023
The unwritten rule in the top tier of Bollywood is that you don’t talk about all the bad things that happen behind the scenes, even if they are incredibly awful.
In that regard, some truly terrible incidents have been covered up or swept under the carpet over the years. This includes frontline stars having awfulness inflicted on them at the beginning of their careers, like the infamous casting couch, being attacked and career sabotage.
That is because the Hindi film fraternity has been a tightly knitted circle, where silence and denial have become normal. One or two who have been brave enough to speak out in the past had their careers ended. This has made the veil of secrecy even stronger. But what happens when a star becomes so big and makes a name away from the industry? That is when the fear of repercussions, and fake stories being planted in Indian media melt away.
Nobody has really been in that position like Priyanka Chopra Jonas, who has firmly established herself internationally. She is happily married to singer Nick Jonas, has a young child, lives in America, has a thriving business and gets a lot of work in Hollywood. Nothing anyone can do or say in Bollywood will affect her in any way. If she never acted in an Indian film again, it would not affect her career.
Initially it seemed as if she wouldn’t reveal any hidden secrets and keep the cloak on shameful practices that exist in Hindi cinema in place. But Priyanka has always lived life on her own terms.
Although her memoir Unfinished was relatively tame in terms of revelations, the actress fired some opening shots at Bollywood by revealing that she was thrown out of films early in her career because some established leading men wanted to cast their girlfriends. If Bollywood breathed a sigh of relief after the book was published, they did so too soon.
Earlier this year, the actress revealed in a podcast that she had left India to pursue a career in America because of being pushed into a corner by people in the industry, who didn’t like her, and that she had stopped getting cast because of an unwillingness to ‘schmooze’ certain clubs and cliques.
More recently, the actress spoke about being driven to despair by a famous man she was in a relationship with and crying all the time. The worst kept secret in Bollywood is that the man was allegedly a very famous, married superstar. A lot of people knew, who she was talking about and those who didn’t found out with a quick Google search.
Although, what the actress has revealed so far might be minor in the wider scale, things like this didn’t really happen before. She can speak freely because dark forces in Hindi cinema can no longer dim her career, including those productions that stop casting women as leads in big commercial blockbusters after they cross 40.
She recently played the lead role in Hollywood film Love Again and her new web series Citadel topped the charts. The actress has other exciting international projects on the way, including season two of Citadel and various business ventures. So don’t be surprised if she reveals more about the dark side of Hindi cinema.
Unfortunately, those still stuck in the Bollywood hamster wheel don’t have the same privilege and must keep the dark secrets. The day more are brave enough to speak up like Priyanka has done, it may instigate a much needed positive change.
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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