Ace filmmaker Zoya Akhtar is gearing up for her upcoming film The Archies, which got the limelight since the release of its trailer.
Bringing back the nostalgia of the 1960s when teenagers would enjoy reading Archie Comics rather than surfing the internet, Zoya has attempted to recreate the magic of that era in her movie.
Drawing inspiration from the beloved Archie Comics, the director shared her love for the comics, reflecting on her childhood experiences and the challenges involved in bringing this dreamy world to life through the film.
While talking about the film, Zoya told ANI, "My love is for the comic. I grew up reading the comic. That was a pre-liberalised India and there wasn't access to everything like today in the early 80s. It was a dreamy escape and that dream escape is what I've tried to capture with this film."
Opening up about the casting of the film and how it happened, she shared, "The casting took eight months to a year. We knew that the characters are so iconic. They are known globally. We didn't want to take any established stars because they come with their own image and baggage. We needed people who the audience will believe to be Archie, Veronica, Reggie, and Dilton. We knew we wanted newcomers. They had to be 17 years old. So, they had to be very young. We tested everyone."
On casting the newcomers and even those who have no acting background, Zoya said, "Agastya, who plays Archie. He was in business school. He had no idea and I told him to just come and audition. And then I kept auditioning him and before he knew it, he was in the movie."
She continued, "The second was Dot (Aditi Saigal), who is a musician and plays Ethel. I met her to get a song from her and in the middle of that Zoom conversation, I was like, 'She is too Ethel.' So I asked her if she could act and she said no. Then I said, if she could audition and she said yes. So I tested her and she got cast."
"We found Dilton (Yuvraj Menda) on Instagram. He used to put up dance videos and stuff. We called him in when he was 17. He had not even turned 18 and he was still in school. He had no idea he was going to act," she added.
When asked about the criteria for choosing Suhana as Veronica, Agastya as Archie, Khushi as Betty, and others, she said, "Suhana was already cast. Suhana was studying acting and I've seen her in a short film. I've seen her act and she has always wanted to be an actor. So when she came in, she tested for both Betty and Veronica. We liked her more for Veronica and Khushi for Betty. Ethel (Aditi Saigal) and Archie (Agastya Nanda) got cast last."
Zoya mentioned the challenges faced while making a movie on such a popular and iconic subject as expectations of the audience have to be kept in mind.
As she shared, "The challenge is double-fold because for the people who are fans of Archie, they want to get the nostalgia. They want to go back to that time when they were children. They are fans and cannot come out and ask, 'What is this?' They have to look at it and feel as if they are 12-year-olds again. That innocence and idealism need to be there. For the new generation that doesn't know Archie, there has to be something that concerns them something and that emotionally resonates with them. We kept the essence; we kept the nostalgia and we kept the characters and their traits. But we made the theme of the story Gen Z."
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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