Ali Abbas Zafar is one of the most successful filmmakers from the current crop and nobody has an ounce of doubt about it. In the past four years, the talented filmmaker has delivered three all-time blockbusters: Sultan (2016), Tiger Zinda Hai (2017) and Bharat (2019). Apart from him, the common factor in all his directorial ventures in superstar Salman Khan.
Ali and Salman make for one of the most successful director-actor duos in Bollywood. Rumours were rife lately that after the release of Bharat, Ali will call the shots for Salman Khan’s another South Korean remake, Veteran. But since Khan his busy with his upcoming projects such as Dabangg 3, Inshallah and Kick 2, he seems unable to manage his dates for yet another heavy film like the Veteran remake.
The latest we hear that after working with Salman Khan on three successful films, Ali Abbas Zafar is now set to team up with superstar Shah Rukh Khan. Yes, you heard that absolutely right! Buzz has it that Ali will direct SRK in Dhoom 4, the fourth instalment of the highly successful Hindi film franchise Dhoom which began in 2004.
After the debacle of Zero (2018), Shah Rukh Khan has not signed any film. While the actor is devoting a lot of time to strengthen his production house, Red Chillies Entertainment, fans are curious to know what he is next starring in. Though there is no official confirmation, rumours are strong that Yash Raj Films is bankrolling Dhoom 4 for him with Ali Abbas Zafar coming onboard to helm the project.
Ali Abbas Zafar, who began his journey with Yash Raj Films, is known for pulling off larger-than-life films. The makers at YRF are also confident about his directorial abilities and hence they are keen to pass on to the directorial baton to him from Vijay Krishna Acharya who is still trying to come to terms with the epic failure of his Aamir Khan and Amitabh Bachchan starrer Thugs of Hindostan (2018).
Well, we are surely excited about Ali Abbas Zafar calling the shots for Dhoom 4. However, an official announcement is awaited.
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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