Ananya Panday is having a blast shooting for her upcoming Bollywood offering, Pati Patni Aur Woh. It will mark her second release after Student of The Year 2 (2019). Produced by Dharma Productions, SOTY 2 also featured debutante Tara Sutaria and Tiger Shroff in lead roles. Ananya Panday received overwhelming response for her performance in the flick and has been offered a number of projects after its release. However, she seems in no hurry to sign films left right and centre.
Ananya Panday is currently working with Kartik Aaryan in their next film, Pati Patni Aur Woh, which she had signed even before the release of her debut film, Student of the Year 2. The newcomer is enjoying shooting for her second film and also the company of her co-star Kartik Aaryan.
Ananya has shot for some portions of the film in Lucknow. She will head back to the city of Nawabs once again to start the next schedule of the movie. When asked about the schedule and Aaryan, Panday reveals, “I am very excited for this film. I came back from Lucknow yesterday after finishing shooting. I will again head to Lucknow next week. It’s really a funny movie which the audience will enjoy watching. He (Kartik Aaryan) is really funny and always makes us laugh on the film’s set”.
Besides Kartik Aaryan and Ananya Panday, Pati Patni Aur Woh also stars Toilet: Ek Prem Katha (2017) actress Bhumi Pednekar in the lead role. The comic-caper is an official remake of legendary filmmaker B.R Chopra’s 1978 hit film by the same name, starring Sanjeev Kumar, Vidya Sinha, Ranjeeta Kaur, and in guest appearances Rishi Kapoor, Neetu Singh and Parveen Babi.
B.R. Studios and T-Series Films are jointly producing the remake. Pati Patni Aur Woh is poised for its theatrical release on 6th December, 2019. Mudassar Aziz is the director of the much-awaited 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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