Last seen in horror-comedy Bhoot Police (2021), Arjun Kapoor recently wrapped up his much-anticipated film Ek VillainReturns, co-starring John Abraham, Tara Sutaria, and Disha Patani. The actor will not be taking any break in between projects as he is now gearing up to commence work on his next The Lady Killer, set to be directed by Ajay Bahl.
Sharing more details, a source in the know informs an Indian publication, “Arjun is not taking any breaks after wrapping Mohit Suri’s Ek Villain Returns. He has started prepping for Ajay Bahl’s The Lady Killer which will start in the first week of April. The team is definitely heading North to shoot this film as the setting too plays a prominent element in heightening the plot point.”
The source goes on to add, “Arjun will be single-mindedly focused on prepping right now. He has wowed everyone with his performance in Sandeep Aur Pinky Faraar (2021) and he wants to take it up a few notches in The Lady Killer. That’s why he has not taken any break and has started an intense 3-4 hours of prep per day for this film.”
Aside from Kapoor, the upcoming film also stars Bhumi Pednekar in the lead role. The duo is set to work together for the first time. If reports are to be believed, The Lady Killer revolves around a small-town boy who falls in love with a “self-destructive beauty”. The film is expected to hit theatres next year in 2023.
Meanwhile, Arjun Kapoor’s Ek Villain Returns is set to enter cinemas on July 8, 2022. Produced by T-Series Films and Balaji Motion Pictures, the film is a sequel to the 2014 action thriller Ek Villain, starring Sidharth Malhotra, Shraddha Kapoor, and Riteish Deshmukh.
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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