Actor Zaan Khan is enjoying being part of the ZEE TV show Humari Bahu Silk. Produced by Klay Picture, the soap opera hit the airwaves on 3rd June. Khan plays the role of a Gujarati boy on the show, who is pressurized to join the family business.
Revealing more about his character, the actor says, “I am playing the role of a Gujarati boy who is very passionate about his photography, but his family conditions are such that his grandmother wants him to continue with the family business. The character has different layers and shades, a boy who wants to continue with his passion but due to the circumstances at home, he turns into a mature man, willing to take responsibility.”
Talking about the response that he receives from fans on social media, Zaan Khan says, “I get many comments from my fans. They often tell me that they are really liking my work. During emotional scenes, people message me that they were literally crying when they saw my performance. Not only the youth but even aged women, my family and relatives love my work. I am doing my best. Let's see what happens.”
When asked if he relates to his character at all, Khan says, “Not at all, because Naksh and Zaan are poles apart. I am very happy-go-lucky, chirpy, energetic, go-with-the-flow kind of a guy. But this character Naksh is a deep thinker and so there are no similarities, which is the best part. If there had been any similarities, I wouldn't have enjoyed playing the character,” he says.
The show, which began on 3rd June, is now gearing up to clock 100 episodes. “I don't know about TRPs much but everybody loves drama and if the storyline is interesting then people wait the next day to see what will happen. The audiences get hooked on, so drama is important. I am happy that show is completing 100 episodes. Audiences are loving the current drama a lot,” he says in conclusion.
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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