Rumours have been rife lately that Ajay Devgn has joined hands with Yash Raj Films for a film. Since the superstar has never worked with the leading production house before, film enthusiasts are quite excited about the forthcoming outing. According to reports, the untitled film is a part of the YRF 50 Project venture, which is slated to be announced on 27th September.
The latest we hear that the Ajay Devgn-starrer is set to be mounted on a lavish scale. Well-known Filmmaker Rahul Rawail’s son Shiv Rawail will make his directorial debut with the film which is reportedly part of a superhero franchise. Yes, you read that right.
A source in the know tells an online publication, “It will mark the directorial debut of Shiv Rawail and is a superhero film. Not just that, producer Aditya Chopra has also planned to spin a franchise out of it. The prep over this film is going on for a long time and it is expected to be a big-screen spectacle.”
A source from the trade is ecstatic with the development. “The success of the Baahubali series has shown that audiences will come in big numbers for films that have scale, effects, and grandeur. And the success of Avengers has proved that superhero films are in vogue right now and can work big time, if handled well. YRF has already achieved success with action-based franchises like Dhoom and Tiger. They are now taking the next big step by entering into the superhero franchise space. This move will surely pay dividends,” he explains.
While the details of the rest of the cast of the film are not yet known, Aditya Chopra will officially announce the film on 27th September on the occasion of his father and iconic filmmaker Yash Chopra’s 88th birth anniversary.
Meanwhile, Ajay Devgn is awaiting the release of his next film, Bhuj: The Pride of India. Originally slated to release in theatres, the war drama will now premiere on Disney+ Hotstar as cinemas across India remain shuttered due to the Coronavirus pandemic.
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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