Filmmaker Ayan Mukerji on Saturday marked the first anniversary of his 2022 blockbuster Brahmastra, starring Ranbir Kapoor and Alia Bhatt.
Titled Brahmastra Part One: Shiva, the movie was the beginning of a big-budget fantasy adventure franchise and Mukerji has already announced two follow-ups that will be released in 2026 and 2027.
Mukerji took to Instagram and posted a video that included several popular action scenes from the movie. It ended with a message reading, Brahmastra Part Two and Three development in progress."
"Happy 1st Birthday, Brahmastra! Thank you for all the creativity, all the hard work, and all the lessons in filmmaking, and in life! PS: Will share some early artwork from the next stage of the Brahmāstra journey in a bit!" the 40-year-old filmmaker wrote in the caption.
Brahmastra follows a deejay named Shiva (Kapoor), who sets out on a journey to find the origins of his special powers with Isha (Bhatt), a woman he falls in love with at first sight.
Megastar Amitabh Bachchan and Mouni Roy also featured in the movie, produced by Star Studios and Karan Johar's Dharma Productions, with special appearances by Shah Rukh Khan and Nagarjuna.
The film was one of the major commercial successes for the Hindi film industry during the Covid-19 pandemic.
Marking the film's first anniversary, Johar called Brahmastra a "labour of love".
"Truly, one experience….one journey….one story that is told with the heart and soul. An army of people giving in their best to showcase nothing short of magic on the big screen. The power of love & light will continue to shine bright!!! #brahmastra," the producer posted on Instagram.
In April this year, Mukerji had announced that the two sequels of "Brahmastra" will be "bigger and more ambitious than Part One" and he will be shooting them simultaneously.
Mukerji will return to the Brahmastra franchise after directing War 2, starring Hrithik Roshan and Jr NTR, for Yash Raj Films. The movie will be a part of YRF Spy Universe.
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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