Priyanka Zemse: “I would like to bring characters to life in imaginative and creative ways”
Indian actress discusses her acclaimed short film 'Me, Raani' inspirations and heroes she admires
Priyanka Zemse
By Asjad NazirAug 30, 2024
TALENTED newcomer Priyanka Zemse first got connected to the arts, creativity and music through the classical Indian dance form, Bharatanatyam.
Watching movies and regional plays as a child sparked her interest in storytelling and character portrayal, which led to a promising acting career.
She has followed up roles in TV serials like Molkki, Cartel and Asur: Welcome To Your Dark Side, with acclaimed short film Me, Raani, in which she plays an impoverished mother wanting to give her daughter a better life.
Eastern Eye caught up with the talented Indian newcomer to discuss her short film, future hopes, acting hero and inspirations.
You have done diverse roles, but which project has been closest to your heart?
I feel Me, Raani will be close to my heart as I loved the intensity and authenticity of the character and depth of the script. Performing Anju was extremely challenging and exciting.
The dialect, body language and conflicts within her - it really demanded me to give my best.
Which role challenged you the most?
I played a possessed woman in the web series Dahan and a reporter in the series Cartel. Both characters had a huge impact and were well appreciated.
What was the experience of acting in short film Me, Raani?
I was really touched while shooting the climax of this film. This happened because of the bond I shared with (child star) Bhavika (Parde) on the set. The whole team had put their heart and soul in the project while shooting. I was fortunate to work with such a positive, optimistic and professionally committed team. I am grateful to (director) Shivani Mehra and Carry on Films for having faith in me to play a character like Anju.
A still from Me, Raani
What can we expect from you?
In Me, Raani, you see Anju, a strong mother who's ready to do anything for her daughter's happiness. I am hoping for appreciation from global festivals for this film. I am looking forward to many more such women-centric, performance-based roles.
Do you have a dream role?
I would love to perform women-centric roles representing women from different cultures and classes. I would like to excel in intense emotionally charged roles, action-oriented films, period dramas and, if given the chance, then comedy as well. I would like to bring characters to life in imaginative and creative ways.
Does your approach change between different languages?
For me, being open to working in different languages can significantly broaden opportunities and cultural connections, which opens up diverse roles and international collaborations for myself.
What do you enjoy watching as an audience?
I enjoy watching docu-dramas, period dramas, romcoms, thrillers, horrors and biopics.
Who is your acting hero?
I am highly inspired by Smita Patil, Shabana Azmi, Naseeruddin Shah and Irrfan Khan. After watching Arth, Manthan and The Lunchbox, I was convinced that acting is not just about looking good, but also performing the given character and connecting well with the audience.
What inspires you as an actress?
Working with talented professionals actually inspires me to become better at my craft. Understanding how people think, feel, and behave in various situations helps me bring authenticity to my performances. I am deeply inspired by compelling narratives and complex characters that challenge me to explore different emotions and perspectives. And that helps me to channel my characters to life.
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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