According to reports, Abhishek Bachchan has joined forces with John Abraham to topline the Hindi remake of Malayalam blockbuster Ayyappanum Koshiyum (2020). If the news is indeed true, the remake will mark the reunion of the two actors who last worked together on Dharma Productions’ much-loved comic-caper Dostana (2008) some 13 years ago.
For the uninitiated, Abraham acquired the Hindi remake rights of Ayyappanum Koshiyum in March last year and announced that he would bankroll the project under his production house JA Entertainment once the Coronavirus situation gets better in India.
The original film starred Prithviraj and Biju Menon in title roles. Soon after Abraham announced his plans to remake the film in Hindi, a lot of people in showbiz wondered who would agree to star in a two-hero project. Looks like the actor-turned-producer has finally got his friend Abhishek Bachchan on board.
Spilling more beans, a source close to the development tells an online publication, “John Abraham and Abhishek Bachchan have been trying to collaborate on a film again ever since the release of Dostana. However, nothing really materialized. Ayyappanum Koshiyum is finally a quintessential two-hero film that does justice to their persona and gives equal standing to both John and Abhishek. They have started a conversation on the film and the paperwork should be done soon.”
Ayyappanum Koshiyum hit the marquee in 2020, weeks before India went into a complete lockdown in an attempt to prevent the spread of the Coronavirus pandemic. After its huge success in Malayalam, many filmmakers from across the country queued up to buy its remake rights. The Telugu remake of the film recently began production in Hyderabad, with Pawan Kalyan and Rana Daggubati playing the lead roles.
Keep visiting this space over and again for more updates and reveals from the glitzy world of entertainment.
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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