Khufiya review: Tabu shines in spy thriller adapted from a book
Acclaimed director Vishal Bhardwaj delivers a gripping spy movie filled with surprises, surveillance cameras and secret agents
By Asjad NazirOct 13, 2023
THE espionage thriller based on Amar Bhushan’s novel Escape to Nowhere recently premiered on streaming site Netflix.
When an Indian secret agent is murdered, while on a mission, it emerges she was likely betrayed by a mole. Her no-nonsense handler is given the task of exposing the prime suspect and using him to find out who the puppet master controlling him is. Through flashback we learn more about the deceased and in the present, there is an unexpected turn.
Acclaimed director Vishal Bhardwaj delivers a gripping spy movie filled with surprises, surveillance cameras and secret agents. There is also an intriguing game of cat and mouse, as a group of determined agents try to catch their suspect, along with exposing a potential bigger conspiracy. There are also intriguing layers added, including a very subtle romantic sub-plot and characters that are not all what they seem.
The pacy film keeps you engaged, largely thanks to deft direction and stand-out performances from the lead cast. It is no surprise that Bhardwaj turned the male protagonist into a female one played by Tabu. She is superb as the tough woman, trying to catch a traitor, who also has to balance the pressure of being a mother and a past pain.
The rest of the cast play their respective roles really well and Ali Fazal is great in his antagonistic avatar. The main weakness of Khufiya is it is around 20 minutes longer than it needed to be. The tension is also broken with some unnecessary musical breaks and scenes. Some may find that with the great build-up, the ending needed to be bigger.
That doesn’t take away from this being one of the better Bollywood films released this year, with a terrific turn from the truly brilliant actress Tabu.
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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