'Mind Fool' by Vir Das: Exhilarating blend of humour and social commentary
While renowned for taking audiences on laughter-filled journeys, Das’ latest show, Mind Fool, deviates at times, but ultimately finds its destinatio
By Asjad NazirJan 03, 2024
INDIA’S most successful English-language standup comedian continues to showcase his unstoppable prowess, evident in his recent triumph at the International Emmy awards.
He is also in the middle of another mammoth world tour and recently delivered sold-out shows for UK audiences, including at the iconic Hammersmith Apollo in London.
The first and second halfs both opened up with newcomer Aadar Malik, who did a good job warming up the eager audience for a comedy giant who is growing in stature with every show. While renowned for taking audiences on laughter-filled journeys, his latest show, Mind Fool, deviates at times, but ultimately finds its destination. Das blended hilarious jokes with life lessons and astute observations on the state of affairs, using his signature blend of humour and social commentary.
In the first half, he shone a spotlight on random topics like Gen-Z, politics, influencers, the scourge of social media and a morally bankrupt middle class. There was also a magnificent joke about pronouns, connected to the trouble he has been in for his explosive sets, and a wonderful bit about no one being truly honest. There was more of the same in the second half, as the skilled orator spoke on subjects like therapy, kindness, his first heartbreak and getting in trouble with the police at different stages of his life.
His astute commentary on the current state of India was delivered with remarkable finesse, subtly conveying his message. Weaving together diverse threads, he presented one of the most comprehensive sets ever witnessed from an Indian stand-up comedian. It was no surprise when the packed venue gave him a prolonged standing ovation. Undoubtedly, this set, bound for streaming platforms, is poised to become a must-watch.
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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