The Delhi Police on Wednesday tracked down four suspects who were involved in uploading Indian actress Rashmika Mandanna’s deepfake video online. However, the hunt for the creators of the wildly circulated video and the main conspirator behind it is still on.
Mandanna, who is a popular name in India’s southern film industry, is not the only Indian actress who has experienced the horrors of deepfakes created using Artificial Intelligence (AI). Actresses like Alia Bhatt, Kajol, and Katrina Kaif have also fallen prey to the misuse of technology over the past few months.
The unchecked use of AI to create deepfakes should not be the only concern for Bollywood. Artificial Intelligence has already emerged as a disruptive force in Hollywood with writers going on strikes for months, and the day does not seem far when thousands of people working in Bollywood may lose their livelihood because of the technology.
But should Bollywood be really worried about this technological disruption?
Some creators in the Indian film industry are not considering AI a potential threat for the time being, but others feel it needs to be taken very seriously.
Acclaimed filmmaker Shekhar Kapur, who has made such iconic films as Mr India, Bandit Queen, Elizabeth, and Elizabeth: The Golden Age, is currently busy writing the sequel to his debut film Masoom, which hit Indian theatres in the year 1983.
For the sequel, Kapur decided to give the AI tool ChatGPT a shot. Though the filmmaker was quite unhappy with the storyline, he was amazed at AI’s intuitive understanding of the film and the themes behind it.
He shared a still from the film and wrote, “There’s so much talk about AI, and how it’s going even take over creative writing, that I decided to test it. I asked ChatGPT to come up with a story for Masoom 2 - The Next Generation, my next film, and was amazed at AI’s intuitive understanding of the film and the themes behind it.”
There is no doubt AI is becoming increasingly sophisticated with each passing day. Tasks such as creating realistic 3D images and characters, composing music, and even writing scripts are much easier with AI. As AI continues to advance, it will likely be able to do more and more tasks that are currently done by humans in Bollywood.
“There hasn't been a structured conversation around the use of AI in India yet," said Siddharth Roy Kapur, former president of the Producers Guild of India. But the time to have it is now, he said because AI tools are "getting smarter literally every second".
"Where we are today with AI will be very different to where we are three to six months from now," Kapur said.
Among Bollywood stars, Shah Rukh Khan was among the first to test AI in 2021 when he lent his face and voice to an advertisement campaign launched by Cadbury that used deepfake technology. The campaign allowed owners of small businesses to use his voice and image to promote their stores and bump up sales during the pandemic slump.
Sukesh Nayak of Ogilvy India, the agency behind the campaign, said that this "one ad campaign created 300,000 ads across the country".
Nobody can deny that if the use of AI increases in Bollywood in times to come, it will affect many people negatively. If we look at the positive side of it, AI could help Bollywood save money on production costs. Additionally, if AI is used to compose music or write scripts, it could save on the cost of hiring human workers to do these tasks.
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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