After the failure of his last directorial venture Aiyaary (2018), filmmaker Neeraj Pandey announced his next project with superstar Ajay Devgn. Titled Chanakya, the project was expected to mount the shooting floor soon. A couple of months ago, some media outlets reported that Chanakya has been shelved. But from what we hear, the project is very much on track.
Before announcing the film, Neeraj Pandey had just narrated his germ of the idea to Ajay Devgn. The actor, known for his meticulousness, had a couple of queries and asked the filmmaker to come back with more details on the subject matter, but what the director did left the superstar surprised.
“Neeraj realized that Ajay does not really understand his style of working. So, to make Ajay comfortable, Neeraj went off to the drawing board and came back with an entire script so that Ajay could be convinced. And when Ajay heard it, he was blown away because Neeraj narrated the script to him with every detail in place and Ajay had no queries after that. We will hear of an announcement soon once they put the logistics of the film on paper including profit share, satellite rights, etc.” an insider tells a publication.
When the project was announced in 2018, Chanakya was thought to be a biopic based on ancient teacher, philosopher, economist, jurist and royal advisor Chanakya, also known as Kautilya and Vishnugupta. However, from what we hear now, Chanakya is not a biopic. “It is more of a modern-day narrative of Chanakya with a lot of political overtones,” the source reveals to the publication.
Meanwhile, Ajay Devgn is working hard on the post-production work of his much-awaited movie Tanhaji: The Unsung Warrior. Also starring Kajol and Saif Ali Khan in important roles, the war historical drama is scheduled to roll into theatres on 10th January, 2020. Apart from playing the male lead, Devgn is also the producer of the film.
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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