We have many stars in Bollywood who prefer to do one film a year or a maximum of two films a year. But then, there are also actors who don’t mind starring in more than one film a year. Especially, newcomers nowadays try to grab as many as good opportunities as they can.
Today, let’s look at the list of actors who have the maximum number of films in their kitty right now…
Akshay Kumar
There’s no doubt that Akshay Kumar is a superstar. While most of the superstars prefer to have one release a year, Akki at least has more two releases every year. This year we saw Akshay on the big screen in Kesari, Mission Mangal and Housefull 4. And now, he will end the year with Good Newwz. Well, in 2020, he will continue the trend and will have four releases, Laxmmi Bomb, Sooryavanshi, Prithviraj and Bachchan Pandey.
Amitabh Bachchan
Amitabh Bachchan is one senior actor who is giving a tough competition to the young generation. At the age of 77, Big B has four films in his kitty right now, Jhund, Brahmastra, Chehre and Gulabo Sitabo. These are just Bollywood films, but he is also starring in a Tamil film titled Uyarndha Manithan which means he has five films lined up. Also, he successfully does Kaun Banega Crorepati on the small screen. Well, this man is surely an inspiration.
Janhvi Kapoor
Janhvi Kapoor made her debut with 2018 release Dhadak. She didn’t have any releases this year, but for now, she has as many as six films in her kitty. She will be seen in Gunjan Saxena: The Kargil Girl, RoohiAfza, Netflix’s Ghost Stories, Dostana 2, Takht and Bombay Girl. There are event reports that she might star in Bunty Aur Babli 2 and if it turns out to be true then she will have seven films in her kitty. Phew!
Bhumi Pednekar
Bhumi is currently busy garnering the praises she is getting for her performance in Saand K Aankh. Her fans are in for a treat this year as well as next year because the actress has five films lined up for the release. She will be seen in Bala, Pati Patni Aur Woh, Dolly Kitty Aur Woh Chamakte Sitare, Bhoot – Part One: The Haunted Ship and Takht. And we are sure after seeing her performance in Saand Ki Aankh more filmmakers would love to cast her in their movies.
Vicky Kaushal
When Vicky Kaushal made his debut with Masaan, a lot of people stated that he is a good actor but not hero material. But he proved his mettle as an actor as well as a hero with Uri: The Surgical Strike. Vicky now has four films in his kitty, Bhoot – Part One: The Haunted Ship, Sardar Udham Singh, Takht, and Sam Manekshaw biopic. Well, all of them look quite interesting.
Rajkummar Rao
Rajkummar Rao is one of the most talented actors we have in Bollywood. This year hasn’t been a great year for him if we look at the collection of his movies. But Rao has as many as five projects in his kitty. He will be seen in Turram Khan, RoohiAfza, Chupke Chupke remake, Anurag Basu’s next and The White Tiger in which he will be seen opposite Priyanka Chopra.
Kiara Advani
Netflix’s Lust Stories gave Kiara Advani’s career a boost. The actress starred this year in Kabir Singh which is one of the biggest hits of 2019. Now Kiara has six projects in her kitty, Good Newwz, Laxmmi Bomb, Shershaah, Indoo Ki Jawani, Bhool Bhulaiyaa 2, and Netflix’s Guilty. We must say that Kiara is in demand.
Alia Bhatt
Last but not the least; we have Alia Bhatt on our list with a total five films in her kitty. In 2020, Alia will be seen on the big screen in movies like Sadak 2, RRR, Brahmastra, Takht and Gangubai Kathiawadi. All the films are undoubtedly the most awaited films of next year. It looks like Alia is all set to rule the box office in 2020.
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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