Ahead of the release of "Govinda Naam Mera", Bollywood star Vicky Kaushal says he feels like a debutant all over again as the upcoming film is a "very new" world he tried to inhabit as a performer.
As someone who has aced emotionally intense roles right from his 2015 debut "Masaan" to his last outing "Sardar Udham", the National Award winner has dipped his toes into the out-and-out masala entertainer space for the first time with "Govinda Naam Mera".
The genre is like the road less travelled for Kaushal but he isn't worried about the fate of the movie, directed by Shashank Khaitan.
"For me, this film is like my debut film because this is something I've never done before. It's only been seven years, but still I have not done anything like this before.
"It's a big test, it is like my first film. It might or might not work for me as an actor, and I'm really excited for that... as excited, I was for 'Masaan'," the actor told PTI in an interview here.
In "Govinda Naam Mera", Kaushal plays the titular character of Govinda Waghmare, a struggling choreographer caught between his bullying wife Gauri (Bhumi Pednekar), and girlfriend Suku (Kiara Advani), who wants to marry him. It's all fun and games until he discovers that he may end up losing his inheritance, the ancestral bungalow in which he lives and what follows is a thrilling set of events.
Calling himself a director's actor, the 34-year-old said it is all about surrendering to the filmmaker's vision.
"It's (world) really something very, very new that I have attempted... Eventually, it is about adding the grammar of the director's vision to your process. That precisely is my process or at least a very integral part of my process," he added.
Kaushal also recalled learning the trick to convincingly embody a character from Bollywood superstar Shah Rukh Khan.
"I learned a very interesting thing from Shah Rukh Khan sir. He told me there is always a grammar attached to every film and it comes with the director, what vision he has.
"It is important to understand the grammar that the director is coming with and my job is to fully suspend myself," he said.
From a masala or niche film to heartland Indian or European cinema, anything made with conviction strikes a chord with the audiences, believes the actor, who rose to prominence with the 2019 war film "Uri: The Surgical Strike".
"We are blessed to be in a country where our taste is so diverse as an audience. For a director, what's important is that the expression should come out in the most honest form and that's our job as actors to kind of deliver that with that much honesty," he said.
Also starring Renuka Shahane, Sayaji Shinde, and Dayanand Shetty, "Govinda Naam Mera" is set to stream on Disney+ Hotstar from December 16.
According to Kaushal, a film's success or failure doesn't depend on the medium of its release.
Citing the example of Prime Video's "Shershaah", starring Sidharth Malhotra and Advani, the actor said the 2021 biographical war drama received a lot of love because it was a "great" film.
"If people like or hate your film, they don't hate it or like it because it's an OTT or theatrical movie. They hate it or like it because it's a bad or good film," he added.
"Govinda Naam Mera" is jointly produced by Viacom18 Studios, Dharma Productions and Khaitan. PTI
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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