Actress Shriya Pilgaonkar, the daughter of accomplished actors Sachin Pilgaonkar and Supriya Pilgaonkar, is working diligently to create her own mark in showbiz. Last seen in Yash Raj Films’ 2016 release Fan, co-starring superstar Shah Rukh Khan, the actress is now gearing up for the premiere of her Amazon Prime Video Original Mirzapur, wherein she plays a strong headed girl called Sweety Gupta. Also featuring a diverse cast of actors including Pankaj Tripathi, Shweta Tripathi, Ali Fazal, Vikrant Massey, among others, the digital series has been the talk of the town ever since the makers revealed its posters and teaser a couple of days before.
Recently, our Mumbai correspondent, Mohnish Singh, sat down with Shriya for a candid conversation. In this interview with Eastern Eye, the promising actress talks in length about her character in Mirzapur, how streaming media giants like Amazon Prime Video help actors reach a wider set of audience and why she would like to focus more on films than television. Excerpts...
Shriya, brief us about your character in Amazon Prime Video Original Mirzapur.
In Mirzapur, I play the character of Sweety Gupta a.k.a Swarangini Gupta. She is the daughter of a cop, who falls in love with the right guy who chooses the wrong path. It’s a very, very interesting character simply because it’s not at all stereotypical.
Sweety is a fearless girl. No one can intimidate her, not even the man she is in love with. It’s a very non-judgmental character, I would say. She has a sister and both are diametrically opposite from each other. People around her are different. She is a very strong headed girl. She can be very stubborn at times. She embraces the challenges that she faces and the way she deals with them is very special. Most importantly, all women in Mirzapur are not portrayed as passive characters. We all in our own way contribute to the plot even if the screen time might not be as much as the men have. Every one of us women is in touch with our sexual desires, we are opinionated and we add very refreshing elements to the series.
Do you think that when actors star in a web-series which boasts of huge mass appeal, it somewhere helps them boost their stardom and get more media attention?
Because my parents also belong to the industry, media attention has never been an alien thing for me. I would also like to say that media attention is not equal to success. Having said that, for some people, the whole world is too new and they feel like they have arrived. But for me, media attention was something I knew would come along if I do good work. But handling that success is something that is not everybody’s cup of tea. How do you remain true to yourself when you are put in a situation like that is something not everyone knows. And though I also did a Marathi film, a French film and a Hindi film called Fan (2016) and my other work will now come out this year and next year, I would say my journey has been slow and steady and that now the speed is gaining momentum.
When you work on a digital platform, your relatability factor enhances. I don’t take up digital projects because it will fetch more followers to my Instagram. But if as an actor, I like something, I will do it. I choose my project irrespective of the medium they will premiere on. Things like stardom are not in your hands, so I never try to focus much on that because you never know when things start changing suddenly.
Do you feel things would have been a little different for you had your debut film Fan with Shah Rukh Khan worked well at the box-office?
I definitely feel that though my work was appreciated in the movie, its success would have made much of a difference because today even if you are a small part of a successful film than a big role in an unsuccessful movie, people see your marketability in a different way. It’s not just acting today; marketability plays a major role in your career. Before a film releases, the stars are created and we see that happen so often these days. Everyone’s journey is different, but yes things would have been different if Fans had worked back then. Having said that, I am happy where I am and with what is there in the store.
There are many actors who are okay with working on digital platforms, but the same people are reluctant to work on television. What do you think is the reason?
Time commitment, I would say, because a lot of shows last for years and years. Secondly, I think is content. My mother still does television, but she makes sure she picks up shows that are really good. Most of the shows on television cater to certain formal that works wonders and the fandom that you see on television is crazy. The only reason why I am not drawn to television is because nothing has come my way that I like and plus my focus is films right now. I am open to digital content because you shoot it within a certain timeframe.
But the makers have announced the second season of Mirzapur?
But it’s not going to take my entire year as opposed to television.
Do you think that since everything is available online, television is dying a slow death in India?
No, it cannot happen. It can never happen because we do have a lot of the audience which still watches television.
Produced by Excel Entertainment, Mirzapur premieres on 16th November only on Amazon Prime Video.
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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