Toplined by Ayushmann Khurrana, Radhika Apte, and Tabu, Andhadhun was one of the most successful films of 2018. Khurrana, who made his acting debut with Vicky Donor (2012), scooped the prestigious National Film Award for Best Actor for his exceptional performance in the thriller.
Apart from the audience, Andhadhun also caught the fancy of several South Indian filmmakers, who queued up in front of filmmaker Sriram Raghavan’s door to acquire the remake rights of the film.
While the Telugu remake rights of the film went to producers N Sudhakar Reddy and Nikitha Reddy, the Tamil rights were secured by Thiagarajan. JJ Fredrick has been roped in to call the shots for the Tamil remake and buzz is strong that it will mark the comeback of Prashanth Thiagarajan.
The latest we hear that Aishwarya Rai Bachchan has been approached to play one of the female leads in the upcoming venture. Confirming the development, producer Thiagarajan told a publication house, “We are in talks with Aishwarya Rai. However, she is yet to sign the project.”
If the former Miss World goes ahead and signs the remake on the dotted line, it will reunite her with actor Prashanth after a massive gap of 22 years. The duo last shared the screen space in the 1998 romantic comedy Jeans, which turned out to be a huge money-spinner at the box-office. We also hear that Prashanth has lost 23 kilos to fit into the character.
Meanwhile, Aishwarya Rai Bachchan is busy with Mani Ratnam’s next directorial Ponniyin Selvan, which is a historical drama adapted from Kalki Krishnamurthy's historical period based fictional novel of the same name.
The multi-starrer film also features several prominent names from the South Indian film industry on its ensemble cast, including Karthi, Vikram, Prabhu, Vikram Prabhu, and Aishwarya Lekshmi.
Ponniyin Selvan reunites Aishwarya Rai Bachchan with Mani Ratnam after their 2010 film Raavan.
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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