Unperturbed by the dismal performance of her last film Sonchiriya (2019), Bhumi Pednekar is looking forward to the exciting lineup of her upcoming movies. She recently wrapped up Anurag Kashyap’s next production venture Saand Ki Aankh with Taapsee Pannu. And now, the actress is preparing for her next Pati Patni Aur Who, which is an official remake of BR Chopra’s 1978 blockbuster film of the same name.
Talking about the comic-caper, Pednekar says that it is fresh, hilarious and boasts of good content. “Pati Patni Aur Woh is a cracking script! It is fresh, it is hilarious and, most importantly, it’s good content which is something that audiences want to see today.”
This is the first time when Bhumi Pednekar has teamed up with Kartik Aaryan for a film. Aaryan, who has delivered blockbusters like Pyaar Ka Punchnama (2011), Pyaar Ka Punchnama 2 (2015) and Sonu Ke Titu Ki Sweety (2018) in the past, is known for his great comic timing. “He owns the space and his comic timing is just great. He has a lot of energy on screen and that is something I resonate with. So, I think we will vibe well and it is going to be quite cracking with him,” says Bhumi.
Since Karthik and Bhumi are teaming up with the first time, the audience is expecting a lot from their fresh pairing. When asked if that mounts any pressure on her, the actress says, “If there is curiosity about how our pairing will be on screen, it’s a great thing. I hope we will deliver to the expectations that people have and do justice to our pairing and our roles. Any actor would love to have expectation behind him or her because that propels us to do better and deliver more on screen.”
Also starring newcomer Ananya Panday in the lead role, Pati Patni Aur Woh is being helmed by Mudassar Aziz of Happy Bhag Jayegi (2016) fame. The movie is scheduled to enter cinemas on 6th December, 2019.
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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