In 1987, Shekhar Kapur directed a film titled Mr. India starring Anil Kapoor, Sridevi, and Amrish Puri. It’s a cult film and from the past many years there have been reports of a sequel to the movie. Now, director Ali Abbas Zafar has announced that he will be taking forward the iconic character in the trilogy titled Mr. India.
Well, the cast of the film is not yet announced, so we decided to list down actors that would fit the bill to play Mr. India in Ali’s trilogy.
When we say the word Mr. India, the first person that comes to our mind is Anil Kapoor. The actor still looks young and we are sure moviegoers would actually love to see him only as Mr. India in this new trilogy as well. Casting Anil Kapoor would be a perfect option.
If the makers are looking to reboot Mr. India, so of course they would plan to cast a young actor. Well, Ranveer Singh is surely one actor who can reprise the role of Mr. India on the big screen. He has the same energy that Anil Kapoor has and it would be great to see him as Mr. India.
Well, it’s in the blood for Arjun Kapoor. He would be a good choice to step into the shoes of chachu Anil Kapoor’s character. The actor has not yet featured in a film that would be a landmark in his career. Starring in Mr. India trilogy would surely be a good opportunity for Arjun to give his career a boost.
Ayushmann Khurrana can play any role given to him. He is the new superstar of Bollywood. So, if the makers opt for Ayushmann Khurrana as Mr. India, we won’t be surprised as the actor will be perfect to play the character.
Last but not the least; we have Shahid Kapoor on the list. Shahid is undoubtedly one of the most talented and good looking actors of Bollywood. So, we won’t mind watching him as Mr. India on the silver screen.
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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