The film traces the journey of Major Sandeep Unnikrishnan, who selflessly fought to save the lives of people during the 26/11 Mumbai attacks in 2008.
The much-anticipated multilingual film Major, based on the life of the 2008 Mumbai terror attack martyr Major Sandeep Unnikrishnan, has been postponed due to the rising cases of Covid-19 across India.
Starring South actor Adivi Sesh as Major Sandeep Unnikrishnan, the film was set to enter theatres on February 11, 2022. It is directed by Sashi Kiran.
“Owing to the aggravation of the covid situation and curfew/limitations in most parts of the country, the release of Major stands postponed. We would announce a new release date soon. Please adhere to all covid protocols and stay safe. Our nation isn’t safe, till each one of us is safe,” said the makers in an official statement.
— (@)
“The release of Major stands postponed owing to the pandemic. The new release date would be announced at the earliest possible time,” the makers posted on the official Twitter account of the film.
Backed by South superstar Mahesh Babu, Major has been delayed a number of times owing to the coronavirus pandemic. It was originally set to release on July 8, 2021.
Produced by Sony Pictures Films India in association with Babu's GMB Entertainment and A+S Movies, the film has been shot simultaneously in Telugu and Hindi. It will also be dubbed in other popular Indian languages, including Tamil, Kannada, and Malayalam.
Major also stars Sobhita Dhulipala, Saiee Manjrekar, Prakash Raj, Revathi, and Murli Sharma in pivotal roles.
According to the Union Health Ministry data updated on Monday, India logged 3,06,064 new coronavirus infections taking the total tally of Covid-19 cases to 3,95,43,328, while the active cases climbed to 22,49,335, the highest in 241 days.
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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