Reliance Entertainment, Nadiadwala Grandson Entertainment, and Phantom Films’ 83 is one of the most-awaited films of 2021. The sports drama, which chronicles the unprecedented win of the Indian cricket team against the West Indies at the 1983 World Cup series, stars Ranveer Singh in the role of legendary cricketer Kapil Dev who was the captain of the winning team.
The film, which has been directed by hit filmmaker Kabir Khan, was originally slated to enter theatres on April 10, 2020. However, the sudden outbreak of the Coronavirus pandemic left the makers with no choice but to postpone the release date of the film.
While the makers are yet to announce the new date for the release of ‘83, we hear that an English version of the film is already in the works. Yes, you read that absolutely right! A reliable source informs a publication that the hugely anticipated sports drama is being readied in the English language as well as the original Hindi.
“It makes sense to have an English version of 83 since Kapil Dev has fans all over the world. The story of his triumph at the 1983 World Cup is of interest to his fans across the world. So yes, an international English version of 83 is being considered,” informs the source.
While 83 stars Ranveer Singh as Kapil Dev, his real-life wife Deepika Padukone essays the character of Dev’s wife Romi Dev in the film. Such talented actors as Pankaj Tripathi, Boman Irani, Tahir Raj Bhasin, Saqib Saleem, Ammy Virk, Harrdy Sandhu, Jiiva, and Amrita Puri are also part of the film’s stellar cast.
If reports are to be believed, 83 could find its way to theatres in the first quarter of 2021. An official announcement is highly waited, though.
Keep visiting this space over and again for more updates and reveals from the glitzy 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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