The much-anticipated social-comedy Dasvi is set for a direct-to-digital release on Netflix and Jio Cinema on April 7, the makers announced on Monday.
Though theatres in India have been allowed to function at full capacity, several filmmakers are still taking the digital route to release their films. Dasvi is the latest Bollywood flick that is skipping theatrical release for a digital premiere.
Directed by newcomer Tushar Jalota, the film stars Abhishek Bachchan, Nimrat Kaur, and Yami Gautam, among others.
The streamers shared the release date of the film on their respective Twitter handles.
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Dasvi is written by Ritesh Shah, Suresh Nair, and Sandeep Leyzell. Ram Bajpai is credited for the story. Poet and former Aam Aadmi Party leader Kumar Vishwas has served as script and dialogue consultant.
The film went on floors in February 2021. It is produced by Dinesh Vijan of Maddock Films in association with Leyzell and Shobhana Yadav's Bake My Cake Films.
Dasvi is presented by Jio Studios and Maddock Films.
Nimrat Kaur, who will be seen in a completely new avatar in the film, celebrated her 40th birthday on 13th March 2021, with her family. Talking about the same, she told a publication, “Well, I'm out with my family for a staycation near Jaipur and we've all met after years. My two sisters, my brother-in-law, my parents, all of us and got together after three years. Since the pandemic hit the world, we all couldn't get together. So it's really, really special. It's a very invigorating time to be with the family. And I'm also on a personal note, I love being in Rajasthan because that is where I was born. It's my birth state. So it's really special to be here to be celebrating my birthday. Two days ago, I went to the Dargah Shareef in Ajmer. Again, I haven't been there in about three, four years now. That was extremely special as well. Really, it's very, very lovely for me to be here.”
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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