Arshad Warsi will next be seen in Durgamati which is slated to release on Amazon Prime Video on 11th December 2020. It is a horror film and stars Bhumi Pednekar in the lead role.
We recently interacted with Arshad and asked him if he feels that the impact of the film would have been better if it released in theatres, the actor said, “100 percent, there’s no doubt in that. A film like this, especially a horror genre, you need to see it in a theatre where it’s pitch-dark, sound effects are there, and special effects are there. The film is in its glory and that’s the way to see a horror film, otherwise, it dilutes the effect that the director is trying to show in the film. So yes, I wish it released in theatres, people would have enjoyed it much more.”
Durgamati is a remake of Bhaagamathie, and Arshad told us that he saw the Telugu film after wrapping up the shoot of the remake. The character Arshad is playing in the Hindi remake was portrayed by Jayaram in the original Telugu film.
When we asked Arshad, if he feels any pressure about comparisons with Jayaram, the actor said, “Comparisons are always going to happen, it’s bound to happen. That’s one of the reasons I didn’t want to see it (Bhaagamathie) because I knew if I see it somewhere I will be influenced. I have done it the way I would have done it. I just did my job. So, my fear more than anything is that I just hope I have not done a terrible job that’s all I am worried about. I just hope I have done a decent job that people say ‘he didn’t embarrass us, he did a good job. Jayaram was brilliant and Arshad was not bad’. That’s it, I am not competing with anybody and I don’t want to compete with anybody.”
Directed by Ashok, Durgamati also stars Mahie Gill and Jisshu Sengupta.
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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