Eid 2024 will be special for Akshay Kumar and Tiger Shroff's fans as their film Bade Miyan Chote Miyan has been locked for a festive release. On Friday, Akshay and Tiger took to their respective Instagram accounts and shared that the film will hit the theatres on Eid next year.
He also shared his and Tiger's BTS images from the film. The images show the duo in fiery avatars.
Directed by Ali Abbas Zafar, the film has been shot across unseen and exotic locales across Scotland, London, India, and UAE.
Excited about the release, Ali Abbas said, "I am delighted to be an integral part of such a big franchise. Bade Miyan Chote Miyan is very close to the audience's heart and bringing all the entertaining elements in this mass entertainer for the audience was a tough and enjoyable experience. On top of all, having slated its release for EID 2024, it will definitely be a treat for the audience to enjoy the festival with power-packed entertainment!"
Producers Jackky Bhagnani and Deepshikha Deshmukh also expressed their excitement about the film.
"This has been a milestone year for us at Pooja Entertainment. Bade Miyan Chote Miyan has been one of our most ambitious projects and it has been a dream come true to work with three legends in their own rights- Akshay Sir, Prithviraj, and Tiger. Their captivating screen energy amalgamated with world-class action sequences along with entertainment, will blow away people's minds. We can't wait for the audiences to witness this grand spectacle in the theatres on Eid 2024," Jackky said.
"It's been a year of conceptualisation, meticulous planning, and tireless hours for the team on the sets of Bade Miyan Chhote Miyan. The camaraderie between Akshay Sir & Tiger will captivate the audiences with their enigmatic screen presence, undeterred energy, and high-octane action sequences woven magically together by Ali. We can't wait for the audience to come to see the film on Eid 2024," Deepshikha added.
Prithviraj Sukuraman is also a part of the action-packed 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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