Actor Anshuman Jha, who was last seen in Hum Bhi Akele Tum Bhi Akele (2021), is undergoing intense training sessions as part of his preparation for his next film Lakadbaggha. The actor will be seen performing some elaborate stunts in the hand-to-hand combat action film and to do complete justice to his character and look thoroughly convincing in his part, he has trained with Tsahi Shemesh who has also trained the lead cast of Marvel Studios’ The Falcon and the Winter Soldier.
“Tsahi is an incredible trainer and a self-defence expert who brings forth the best in you. He pushes you, insults you (lovingly) and is one of the best people I have met in my life" says Jha.
Set in the Chinatown area of Kolkata, Lakadbaggha requires intense training and preparation and Jha began working with Vicky Arora in July, following which in August he trained with Tsahi in New York to understand the craft of Krav Maga.
Director Victor Mukherjee, “The action sequences are tricky and we needed a physically fit actor who can ace action. Anshuman just did not want to learn screen action but is aiming to be at his physical best in reality. His self-belief, dedication, and right guidance will hopefully yield the desired results.”
Written by Alok Sharma, Lakadbaggha will go on floors in December 2021. The film revolves around illegal animal trading.
Jha who is currently working with Prashant Sawant on his body transformation says, “Working with all these gurus is an exhilarating experience and learning about my own body and its limits is new for me. Tsahi is a great teacher who motivates you and helps you be your finest version. We are getting there, and I am taking baby steps with the best in the business towards being the best I can be for the film in the time that I have. I hope that our hard work pays off and the audience is entertained with the kind of action choreography we are planning to bring on-screen.”
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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