Starring Vijay and Vijay Sethupathi in central characters, Tamil action-thriller Master (2021) arrived like a tsunami in cinemas on 13th January. The film, directed by Lokesh Kanagaraj, released in over 1000 theatres in Tamil Nadu and registered an unprecedented opening for a regional film. Smashing several box-office records, it went on to rack up more than ₹40 crore (400 million) gross on opening day in the midst of the ongoing Coronavirus pandemic.
The latest we hear that even before witnessing the huge success of Master in South India, well-known Bollywood producer Murad Khetani had bought the rights of the film to remake it in Hindi. Khetani has previously remade Vijay Deverakonda’s Arjun Reddy (2017) as Kabir Singh (2019) which became one of the highest-grossing films of 2019. He is currently gearing up to remake yet another Tamil blockbuster Thadam (2019) with Sidharth Malhotra as the male lead.
Now, Khetani is set to bring Master in Hindi. He will produce the remake in association with Endemol Shine. A source in the know informs an entertainment portal that all the paperwork has already been done and an official announcement is expected to be made soon.
“Around two weeks back, Murad along with the team of Endemol visited Chennai for a special screening of Master, after coordinating with the producers of Tamil original. They loved the film and decided to bankroll it in Hindi. This meeting led to paperwork and the producers now officially have the Hindi remake rights under their kitty. They have bagged the rights for a hefty sum,” divulges the source.
Murad and Endemol Shine are currently in the process of locking the director and get the Tamil film adapted in Hindi. The makers are planning to approach two A-list Bollywood actors to headline the project.
“Like Tamil, Murad and co are planning to cast two top stars from Bollywood for the Hindi remake as well. However, they will start approaching the actors on having a director on board. Be assured, this will be among the biggest casting coups in recent times,” the source concludes.
Keep visiting this space for more updates from the world of entertainment.
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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