Ajay Devgn has started shooting for the second installment of Drishyam (2015) in Mumbai. Tabu, Shriya Saran, and Ishita Dutta also return to reprise their roles in the sequel.
Directed by the late filmmaker Nishikant Kamat, Drishyam was a remake of Mohanlal’s Malayalam-language film of the same name, which premiered its second installment in February last year on Amazon Prime Video.
Drishyam 2 begins 7 years after the events in the first film and sees what all Vijay Salgaonkar (Devgn) goes through to protect his family once again. While the first installment was directed by Nishikant Kamath, the sequel has Abhishek Pathak in the director’s chair.
In a statement, Devgn said that he is excited to present an interesting story with Drishyam 2 and once again play the multidimensional character of Vijay Salgaonkar.
“Drishyam was loved and it’s a legend. Vijay is a multidimensional character and he creates an engaging narrative onscreen. Abhishek Pathak has a fresh vision for this film. I am keenly looking forward to part two, filling in the large shoes of the earlier film with people investing in the mystery and the characters,” the 52-year-old actor said.
Pathak said, “It is also a challenge but an opportunity to work along with Ajay Devgn, who is such a powerhouse of talent is a morale-booster for any creative person; his unique influence is undoubtedly the most enriching experience for me personally. It is exciting to retell a story from your own perspective and vision by divergent visuals in the most justified yet extraordinary way. The setting and the mood of the film uplifts the very essence of the crux making it gripping from the very beginning.”
Producer Bhushan Kumar of T-Series said the sequel will be a “notch higher” than the first installment. “Ajay Devgn's power-packed performance and prowess in Drishyam captivated the audiences. Retaining the zest, we are delighted to begin filming its sequel that will take this franchise a notch higher as the audiences will witness double suspense, double mystery, double drama," Kumar said.
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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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