Leading streaming media giant Netflix is set to release its star-studded anthology film Ajeeb Daastaans on April 16. But before the grand premiere, the streamer dropped the trailer of the forthcoming film earlier today, which producer Karan Johar also shared on his social media platforms.
Produced by Karan Johar, Ajeeb Daastaans consists of four strangely contrasting stories about love, longing and identity. The film has been directed by Shashank Khaitan, Raj Mehta, Neeraj Ghaywan and debutant Kayoze Irani.
The first story of the anthology film has Fatima Sana Shaikh as a newlywed wife who turns her gaze elsewhere when her husband, played by Jaideep Ahlawat, tells her that he has someone else in his life.
In the second story, Nushrratt Bharuccha plays a house help who wishes for a good future for her young daughter. However, things go awry when a middle-aged man hires her with ill intentions in his heart. A young laundry boy, played by Abhishek Banerjee, also has feelings for her.
The third story has supremely talented Shefali Shah who plays mother to a deaf daughter. All she wants in this phase of her life is that her partner be more empathetic towards their daughter’s needs.
The fourth story revolves around a factory worker, played by Konkona Sen Sharma, who meets a married woman, played by Aditi Rao Hydari, who is yet to come to terms with her homosexuality.
Talking about his segment Majnu, writer and director Shashank Khaitan said, “My film Majnu explores the dynamics of three characters, their interpersonal relationships and how they keep evolving with each scene. Jaideep, Fatima and Armaan’s characters all want love on their own terms and the space to express themselves but are trapped within the norms of society, much like a lot of people around us. Working on a predefined theme about flawed relationships was a unique experience for me as this is the first time I made something so unusual yet realistic.”
Raj Mehta said, “Khilauna was made with the intention of bringing an unexpected storytelling experience to the audience. The story and the title itself might have different interpretations for each viewer and that is what makes it exciting. Nushrratt, Abhishek and Inayat have this multi-dimensional relationship which adds depth to the film. We have presented imperfect characters, much like real life with no clear blacks or whites. It is entirely on your perspective and hopefully, the film will leave audiences feeling perplexed yet entertained.”
National Award-winning director, Neeraj Ghaywan said, “Geeli Pucchi explores the intersectional realities of two women from disparate worlds. They are both longing for an emotional connection which they end up finding in one another. It was truly inspiring to see Konkona and Aditi bring these characters and their relationship to life. Geeli Pucchi is a complex ride of emotions and I am very excited to see the audience's reaction to it.”
Making his debut as a director, Kayoze Irani said, “Ankahi is all about emotions - those that can be expressed and those that are left unsaid. What attracted me to the film was the fact that communication doesn’t need to be verbal and a lot can be said without words. Manav and Shefali were a treat to direct and they lift the entire storyline. It’s an amazing feeling when lines written on paper transform into a beautiful vision because of fabulous acting and chemistry. The sense of fulfilment after completing a film is immense and I can't wait to share it with the audience.”
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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