My dream is to work with Salman, says Pakistani actress Sarah Khan
Sarah, 31, who currently features in the Zindagi show Abdullahpur Ka Devdas, says she has fans both in India and Pakistan and given an opportunity would love to star in a Bollywood movie.
Pakistani actress Sarah Khan, who has a huge fan following in India courtesy her shows Hum Tum, Khirkiyan, and Sabaat, says her dream since the time she began acting has been to star opposite Bollywood star Salman Khan.
Sarah, 31, who currently features in Zindagi show Abdullahpur Ka Devdas, a classic love triangle that revolves around three characters, says she has fans both in India and Pakistan and given an opportunity would love to star in a Bollywood movie.
"For any actor, it is a big deal to work in another space so it will be great if I get to work in Bollywood. I would love to. I feel half of my audience is in India, and the other half is in Pakistan. Who is not a fan of Bollywood?... I really like Deepika Padukone. And when I began my career, I thought that I would work with Salman Khan," Sarah told PTI in an interview.
Her new show, shot just before the start of the Covid-19 pandemic, had a slightly delayed launch but the actor is confident that the old school love story will resonate with the audience".
"I wanted my audience to see Abdullapur Ka Devdas and my portrayal of Gul Bano. It's an old-school love story set in modern times. It's about two people who fall in love through letters.
"Audiences in both India and Pakistan love beautiful love stories. We both love 'shayari' and a story of love rooted culturally," said the actor married to Pakistani singer Falak Shabir.
Abdullahpur Ka Devdas, directed by Anjum Shahzad and written by Shahid Dogar, also stars Bilal Abbas and Raza Talish. It is produced by Shailja Kejriwal.
Sarah believes the reason behind the popularity of Pakistani serials in India is their portrayal of day-to-day reality.
"These are stories that more or less are happening in our homes and our neighborhoods. So people from both countries can relate to it. Our actors are known for their natural acting, hence the audience feels connected to them," she added.
According to Sarah, Pakistani serials are also evolving with time and looking beyond the typical "hero-heroine centric plots".
"It is no longer just about the love story between two good-looking people," she said.
Sarah, who wanted to be a singer in her school days, said she found her way into acting by chance when she met people from Hum TV during the recording of one of her songs after which she was offered her first drama Badi Appa.
"I thought 'Let me do it since it's the time of school holidays', but that project made me realise how big a responsibility it was. I stayed away from acting for a few years but I couldn't find joy in any other thing. It made me realise that I wanted to be an actor and there was no looking back after that," she said.
Abdullahpur Ka Devdas can also be viewed on YouTube.
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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