Animal review: Overly long drama is swamped with extreme violence
The giant beating heart of Animal is an explosive performance from Ranbir Kapoor, as a psychologically damaged protagonist
By Anjali MehtaDec 06, 2023
WRITER-DIRECTOR Sandeep Reddy Vanga’s debut film Arjun Reddy and its successful Bollywood remake Kabir Singh divided audiences despite clocking up huge box office figures. There is a similar polarising effect with his mega-budget third movie, which was recently released in cinemas globally.
A young man is deeply devoted to his tycoon father, despite him being abusive and this leads towards a complex relationship. He also develops a decidedly dark side to his dangerous personality, which ultimately manifests itself in violence. The family outcast steps up when an attempt on his father’s life is made, and this leads him towards a path of brutal vengeance.
The visually stylish film combines contrasting genres as it mixes up a compelling father-son story and a complicated romance with gang related violence. The giant beating heart of Animal is an explosive performance from Ranbir Kapoor, as a psychologically damaged protagonist who goes through a dramatic transformation that drags him deep into the dark side of his own personality.
He has a magnetic screen presence, with stand-out moments from start to finish. The other cast members do justice to their respective roles. Bobby Deol in particular is great as the antagonist but doesn’t get nearly enough screen time.
Animal is loaded with violence, which regularly goes over the top and will ultimately divide audiences. That bloody brutality and eye-watering length prevent the well-made film from reaching its undeniable potential. The director stretches his story in a nearly three-and-a-halfhour film that is 30-40 minutes too long. There is also toxic masculinity, misogyny, and plenty of questionable messaging.
What ultimately saves the film from oblivion is a strong soundtrack, great central performance, and eye-catching action sequences. But this will ultimately be a divisive movie that audiences will love or hate but agree that it’s definitely too long.
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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