Bollywood superstar Ajay Devgn, who has been working on the much-awaited biographical sports drama Maidaan for some months now, has condoled the death of football legend PK Banerjee. The National Award-winning actor took to his Twitter handle and shared a heartfelt message on the demise of the legendary footballer.
“Had the good fortune of meeting football legend PK Banerjee in Kolkata during the Maidaan schedule in November. Sad to hear about his demise. RIP, the man with the golden kick PK Banerjee,” Devgn wrote on Twitter.
Ajay Devgn, who was last seen in his home production Tanhaji: The Unsung Warrior (2020), plays the role of Syed Abdul Rahim in Maidaan. Regarded as the architect of modern Indian football, Rahim was the Indian national football team coach and manager from 1950 until his death in 1963.
The sports drama was earlier scheduled to hit the marquee on November 27, but the film will now be entering theatres on December 11. Announcing the new release date of the movie on social media, Ajay Devgn had earlier written, "Maidaan will now release on December 11, 2020."
Recently, the makers also dropped the first poster of the film, featuring Devgn along with his team players, who can be seen playing in the mud. In the second poster, the actor can be seen standing on a field holding a football with his team standing behind him.
Produced by Boney Kapoor and Arunava Joy Sengupta and Akash Chawla, Maidaan is being helmed by Amit Ravindrenath Sharma. Sharma last directed the National Award-winning film Badhaai Ho (2020), starring Ayushmann Khurrana, Sanya Malhotra, Neena Gupta and Gajraj Rao in principal characters.
Maidaan is scheduled to roll into theatres on 11th December 2020.
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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