After starring together in many films, award-winning actors Tannishtha Chatterjee and Nawazuddin Siddiqui are set to team up once again, however, their new project will mark the directorial debut of the former.
Tannishtha Chatterjee, who has been a part of a series of critically acclaimed films, is set to turn director with the upcoming movie, which will be produced by Eros International, Rising Star Entertainment, Pankaj Razdan and Ravi Walia.
Talking about the film, Nawazuddin said in a statement, “Tannishtha and I have known each other for a long time. We have worked in a number of films as co-actors over the years. During all these films we have shared many exchanges about our favourite films stories et cetera. We share a wonderful creative rapport. So, it is only natural that we collaborate further. When we were shooting for Lion, Tannishtha told me a story which she had experienced herself. It really intrigued me, and I thought we should make a film of it. The idea started from there. We kept meeting and talking about it. And now here we are actually ready to execute that idea".
Director Tannishtha Chatterjee added, “Nawaz and I share the most vibrant creative discussions. Over the years we have discussed our favourite films, music, stories. We have travelled to many festivals together. Our national award also came together. Through so many years of creative sharing, we thought it is almost an organic culmination that we now tell a story which is ours – as in the kind of films we like to watch. During the shooting of Lion, I told Nawaz about a fantastic English book that I always wanted to adapt. And we discussed that for a long time. Then I experienced a very strange incident in one of my travels. I came back, and I told him about it. He was really intrigued, and we decided – yes that is the story to make. We will probably adapt that book some other time.”
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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