Bollywood superstar Akshay Kumar on Wednesday took to his social media platforms to share a couple of selfies and announce his next film, Selfiee. The upcoming film also stars Emraan Hashmi in the lead role.
Initially teasing his fans and followers, Kumar shared a solo selfie followed by one with Emraan Hashmi. Both actors are seen riding their bikes wearing colourful clothes.
Jointly bankrolled by Dharma Productions, Prithviraj Productions, Magic Frames, and Cape of Good Films, Selfiee is the official remake of the superhit Malayalam-language comedy-drama Driving License (2019), which originally featured Prithviraj Sukumaran and Suraj Venjaramoodu. Sukumaran, along with Magic Frames, is marking his production debut in Bollywood with the remake.
Producer Karan Johar also shared a teaser of Selfiee that has Kumar and Hashmi dancing together. He wrote, “Presenting Selfiee, starring two absolutely smashing actors – Akshay Kumar & Emraan Hashmi and directed by Raj Mehta. Hop into the frame and pose because shooting begins soon! ?.”
Kumar and Hashmi are set to work together for the first time ever. It will be incredibly exciting to see them create magic celluloid together for the very first time, adding a punch of their own versatility as actors. Selfiee will be directed by Raj Mehta. The film will begin production soon.
Meanwhile, Akshay Kumar has a number of exciting projects in the pipeline. Some of his much-anticipated films include Bachchan Pandey, Ram Setu, Raksha Bandhan, Mission Cinderella, Prithviraj, Gorkha, and OMG 2.
Emraan Hashmi, on the other hand, will be seen in Sanjay Leela Bhansali’s Gangubai Kathiawadi and Yash Raj Films’ Tiger 3 alongside Salman Khan and Katrina Kaif.
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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