After staying at home for several months due to the Coronavirus-induced lockdown, Alia Bhatt recently started shooting for her much-awaited film Gangubai Kathiawadi with filmmaker Sanjay Leela Bhansali.
Sharing her experience of resuming work amid the ongoing pandemic, the highly versatile actress tells a publication, “It is a great feeling to be reunited with the team and being back on set. Of course, we have multiple restrictions and protocols to follow, everyone is very careful, taking all sorts of precautions. But we have accepted that this is the new normal, and we are all trying to make the best of the situation.”
When asked if she was at all apprehensive about joining the shoot in times of Covid-19, Bhatt says, “Like I said, we are all apprehensive. These are uncertain times, but we have to make an effort and look at doing the best that we all can do. Also, the ability to be back on set doing what you love is a blessing and I feel very grateful for every moment.”
Gangubai Kathiawadi is a biographical crime drama based on the life of Gangubai Kothewali, the madam of a brothel in the red-light district of Kamathipura, Mumbai. The film brings Alia Bhatt and Sanjay Leela Bhansali together for the very first time. Earlier scheduled to arrive in cinemas in September 2020, Gangubai Kathiawadi has now been pushed to 2021 due to the pandemic.
In addition to Bhansali’s Gangubai Kathiawadi, Alia Bhatt is also shooting for Dharma Productions’ fantasy drama Brahmastra wherein she shares the screen space with her rumoured boyfriend Ranbir Kapoor. The Ayan Mukerji directorial, which is being touted as the costliest film from the house of Dharma Productions, also stars Amitabh Bachchan and Mouni Roy in lead roles.
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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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