When Danny Boyle's Slumdog Millionaire won in eight categories including the best feature film award at the Academy ceremony in 2009, most western audiences welcomed the film as showing a new direction in portraying Indian culture on semen. Most of all, it does not include any white saviour enlightening Indian people, which was a common feature in western films dealing with India in the 1980s and the 1990s. In this film, Indian people resolve their problems on their own. In addition, the fantasy story in which a boy from the slums of Mumbai becomes a millionaire by winning a TV quiz show is visually dazzling with its rhythmic editing, beautiful panoramic scenes, and the splendid color pattern. The various intertextual references to popular Hollywood films attract diverse audience groups; the song-and-dance sequence, a typical attribute of the Indian national cinema style, Bollywood, contributes to popularize the national culture globally. Nevertheless, this film, made by a British director and funded by British studios, still reveals its biased perspective in narrating its vision toward Indian society. Now the prejudice is implicit, subtle, and almost unrecognizable, but it certainly is there. This paper analyzes the complicated cultural politics and the cinematic strategy in the making of multinational co-production films like Slumdog Millionaire.