Aziz Ansari’s ‘Good Fortune’: A comeback tale of resilience, Hollywood humor
Comedian set to strike back with major movie next year
Aziz Ansari
By Asjad NazirNov 09, 2024
A STUNNING stand-up career combined with his acting success and hit web serial Master Of None helped elevate Aziz Ansari into the top tier of Hollywood.
But then a sketchy sexual misconduct allegation in 2018 that was made by an anonymous woman, which most agreed was likely overblown, almost saw his world come crashing down.
After stepping away from the limelight for a time for deep reflection, Ansari made a return with successful 2022 stand-up special Nightclub Comedian.
The same year it was announced that he would make his feature directorial debut with Being Mortal. Ansari was also due to write, produce and star in an adaptation of 2014 non-fiction book Being Mortal: Medicine and What Matters in the End by surgeon Atul Gawande.
But that project was shut down after allegations of inappropriate behaviour by headline star Bill Murray on set. After Being Mortal was shelved, he managed to get a bigger movie greenlit in 2023 with Good Fortune, but bad luck struck again when filming was delayed in May of that year with the Writers Guild of America strike.
His luck turned for the better when the project was acquired by Lionsgate and started shooting later that year. Then it was almost derailed after lead star Keanu Reeves sustained a serious injury while shooting for it, but thankfully for Ansari, it got back on track.
The story revolves around a ‘budget’ guardian angel (Keanu Reaves), who decides to swap a down-on-his-luck man’s (Ansari) body with his wealthy employer (Seth Rogen) to show money doesn’t solve problems. When the ‘life swap’ plan goes wrong, the angel loses his wings and is sent to live among humans, including the man who lost his wealth because of him. The film’s impressive cast also includes Keke Palmer and Sandra Oh.
There has been a positive buzz around the movie, including at CinemaCon earlier this year, where a closed-door trailer was shown to attendees. If as expected the comedy, which has been inspired by classic films like Trading Places (1983) and Scrooged (1988), clocks up huge box-office numbers when it is released in cinemas in 2025, it will re-establish Ansari as a major Hollywood power player, not just as an actor, but also as a writer, producer and director. That, in turn, will mean he will be able to get projects greenlit, where he has full creative control.
One of Ansari’s biggest supporters has been his close friend Rogen, who was due to act in Being Mortal and plays a key role in Good Fortune.
The new movie will bring back to the forefront a fabulous talent who was on an unstoppable rise in Hollywood, until one anonymous – and many would agree – unsubstantiated article almost destroyed his promising career. His return next year will not only be welcome from a creative and talent point of view, but also push open more doors for diversity and representation in Hollywood. Like his new film’s title, that is good fortune for Ansari as well as many others, who will be inspired and entertained by him.
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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