Salman Khan starrer Kick (2014) is the remake of 2009 Telugu film with the same name. The Telugu film featured Ravi Teja and Ileana D'Cruz in the lead roles whereas Jacqueline Fernandez featured along with Salman Khan the Bollywood remade. 2014 Kick was directed by Sajid Nadiadwala and it became one of the highest grossing Bollywood films of that year.
2. Bodyguard
Another Salman Khan starrer film Bodyguard, which was co-written and directed by Siddique is a remake of the director's own 2010 Malayalam film of the same name starring Dileep and Nayantara. The Bollywood film was produced by Atul Agnihotri and Alvira Khan Agnihotri (Salman Khan’s sister) and it featured Salman Khan and Kareena Kapoor in the lead roles.
3. Ready
Ready is a 2011 Indian Hindi action romantic comedy film directed by Anees Bazmee, starring Salman Khan and Asin in the lead roles. It also features Paresh Rawal, Arya Babbar and Mahesh Manjrekar in supporting roles. It is a remake of the 2008 Telugu film, Ready directed by Sreenu Vaitla starring Ram and Genelia.
4. Wanted
The film Wanted was directed by Prabhu Deva which is an official remake of the Telugu film Pokiri. This film was the second highest-grossing Bollywood film of the year 2009. The film featured Salman Khan, Ayesha Takia, Prakash Raj, Vinod Khanna and Mahesh Manjrekar in the lead roles.
5. Tere Naam
This film is a remake of Bala's own Tamil blockbuster Sethu. The film was based on a real-life incident of a friend of Bala's, who had fallen in love, lost his mind and ended up in a mental asylum. The film stars Salman Khan and Bhumika Chawla in the lead roles.
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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