Kangana debuted in Bollywood with Gangster in 2006 opposite Emran Hashmi. She won Global Indian Film Award, Asian Festival of First Films, Bollywood Movie Award, Filmfare Awards, IIFA, Screen Awards, Stardust Awards and Zee Cine Award for best debut for the role of Simran in this movie.
Fashion
Fashion is a 2008 movie, where Kangana played the role of Shonali Gujral. She was praised for her role and won Filmfare Awards, IIFA, Nation Film Award, Stardust Award and Apsara Film & Telvision Producers Guild Award for Best Supporting Actress.
Queen
Queen is a 2014 comedy drama film directed by Vikas Bahl. Queen is one of best movies where there wasn’t any male in the lead roles to have a successful movie. Kangana won serveral awards including Stardust Awards, Filmfare Awards, National Film Awards, IIFA Award for Best Actress.
Tanu Weds Manu
Tanu Weds Manu is a 2011 romantic film directed by Aanand L. Rai, where Kangana played the role of Tanuja (Tanu) opposite R. Madhavan. It was a commercial successful movie upon its release. Kangana won awards for Best Actress including Times of Indian Film Awards and National Film Awards.
Tanu Weds Manu Returns
Tanu Weds Manu Returns is a sequel to the 2011 film Tanu Weds Manu. In this film kangana also plays another role of a Haryanvi athlete called Kumari Sangwan. This movie won Big Star Entertainment Award for Most Entertaining Comedy Film. Kangana won Filmfare Best Actresses – Critics Award as well as National Films Awards and Times of Indian Film Awards for Best Actress.
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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