Starring Ranbir Kapoor and Alia Bhatt in central characters, Brahmastra was set to open big in Indian theatres. The makers had high expectations from the lavishly mounted film and were confident that the fantasy adventure drama would end Hindi cinema’s dry spell at the ticket window. But looks like it is going to worsen the situation for the already stressed industry.
Directed by Ayan Mukerji, Brahmastra: Part One – Shiva is taking down investors of PVR and Inox with itself. These are the same theatre chains that claimed a record-breaking pre-booking of tickets for the film. However, with early reviews criticizing the film for having just flash and no fire, India’s largest theater chains PVR and Inox cumulatively lost over ₹800 crore ($100 million approx) in market capitalization on Friday, the same day when the film entered theatres across India, and some key markets overseas.
Brahmastra, which was in production for several years, is produced on a monumental budget of ₹410 crores ($50 million approx). But if trade experts are to be believed, the film is not going to rake in more than ₹150-200 ($25-$30 million approx) crores, which is half of the total cost splurged on its production.
A media note by Elara Capital says, “The lifetime box office for the film is estimated to be in a wide range of ₹130-200 crore ($22-$30 million approx), based on the strong advances. This analysis was made before the tepid response the film received from critics.
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Panning the film, noted film critic and trade analyst Taran Adarsh called the film a ‘king-sized disappointment’. Brahmāstra is a king-sized disappointment… High on VFX, low on content (second half nosedives) … Brahmāstra could’ve been a game changer, but, alas, it’s a missed opportunity… All gloss, no soul.”
However, Karan Taurani of Elara Capital is hopeful that a positive world-of-mouth can change the film’s fate to some extent. “We believe a positive word of mouth and audience acceptance can help the film breach the upper end,” he concluded.
In addition to Ranbir Kapoor and Alia Bhatt, Brahmastra: Part One – Shiva also stars Amitabh Bachchan and Mouni Roy in important roles, and Shah Rukh Khan and Nagarjuna in important cameos.
Keep visiting this space over and again for more updates and reveals 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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