Alia Bhatt is on a roll these days! After the humongous success of Gangubai Kathiawadi and RRR, she is gearing up for her next release Darlings, which is set to stream on August 5 directly on Netflix, skipping theatrical release.
Apart from some high-profile Bollywood films in her kitty, Bhatt is also set to make her Hollywood debut with Heart of Stone. The much-anticipated film sees her in a pivotal role alongside Hollywood stars Gal Gadot and Jamie Dornan. The actress shot a major portion of her Hollywood debut amid pregnancy.
Sharing her experience of the same, Bhatt told an international publication, "It was my first Hollywood big English picture experience and I had quite a task at hand because I was shooting for the first time an action movie But I’m also pregnant so there were so many layers for me to deal with. But they made it so seamless and so easy and so comfortable for me. It’s something that I will never forget because of how beautifully and how well I was treated", via Variety.
She also spoke about joining forces with Gal Gadot and Jamie Dornan who also play lead roles in the Tom Harper directorial. She described her filming moments with them and said that she had a "lovely time."
Coming to Darlings, the film also marks Bhatt’s debut as a producer. She has co-produced the film with Shah Rukh Khan’s Red Chillies Entertainment. In addition to her, the film also stars Shefali Shah and Vijay Varma in lead roles.
Another major release for the actress after Darlings is Brahmastra in which she stars alongside her husband Ranbir Kapoor. The mega-budgeted film, produced by Karan Johar under Dharma Productions, also features Amitabh Bachchan, Nagarjuna, and Mouni Roy in lead roles. Brahmastra is set to enter cinemas on September 9, 2022.
Keep visiting this space over and again for more updates and reveals from the world of entertainment.
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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