Angrezi Medium was one of the most-awaited movies of 2020. Film enthusiasts were waiting for the theatrical release of the flick with bated breath as it was to mark the silver screen comeback of National Film Award-winning actor Irrfan Khan after he won his battle against the neuroendocrine tumour.
A sequel to the 2017 satirical drama Hindi Medium, Angrezi Medium hit the marquee on 13th March 2020. Released amid the Coronavirus fears, the movie met with lukewarm response from the audience. Though it did open its account with ₹ 4 crore, collections plummeted on the following days. With the entire world grappling with the Coronavirus scare, the makers of the Homi Adajania directorial have suffered severe losses.
According to a trade portal, Angrezi Medium has not racked up an impressive collection in four days. While the movie netted ₹ 4 crore on its opening day, the collection on its first Monday was as low as ₹ 35 lakhs approximately. The total collection of Angrezi Medium currently stands at approximately ₹ 9.35 crore.
The makers cannot see further spike in the box-office earning of the film as the majority of theatres across India will remain shut till the end of the month due to the Coronavirus outbreak. The makers are, however, planning to rerelease the film once the ban on theatres is lifted.
Produced by Dinesh Vijan under the banner of Maddock Films, and London Calling Production, Angrezi Medium also stars Kareena Kapoor Khan, Radhika Madan and Deepak Dobriyal in pivotal parts.
In the wake of the Coronavirus outbreak, the release date of several Bollywood films has been pushed ahead, including Sandeep Aur Pinky Faraar and Sooryavanshi. Both movies were set to open in March.
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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