It is no secret that Telugu superstar Chiranjeevi had officially bought the remake rights of the blockbuster Malayalam film Lucifer (2019) from its makers in 2019. The remake, which is set to be his 153rd film, was launched on Wednesday amid much fanfare.
The launch ceremony saw the attendance of a galaxy of popular names from Telugu cinema, including Allu Aravind, Niranjan Reddy, Koratala Siva, Ashwini Dutt, DVV Danayya, Nagababu, Tagore Madhu, Meher Ramesh, Gemini Kiran, Satyanand, Bobby, Ram Achanta, Gopi Achanta, Miryala Ravinder Reddy, Naveen Yerneni, Sirish Reddy, and Vicky, to name a few.
Filmmaker Mohan Raja, who is known for helming such films as Jayam (2003), Santosh Subramaniam (2008), and Thani Oruvan (2015), has been roped in to direct the upcoming remake, which will mark his comeback to Telugu cinema after his debut directorial Hanuman Junction (2001).
Confirming the same, Raja had earlier tweeted, “With the blessings of my parents and well-wishers, life has always gifted me better and bigger things. And this time, I am more elated and honoured to direct a mega project with Megastar Chiranjeevi himself. Need all your wishes and prayers.”
Konidela Productions, Super Good Films, and NVR Films have come together to jointly produce the much-awaited remake which will be presented by Surekha Konidela. The film will have music by Thaman S.
“The biggest dream for any composer. It is my turn to show my love towards our boss Shri megastar Chiranjeevi and my dear brother Mohan Raja. Here we begin our musical journey for Lucifer,” the music director tweeted on the same day.
While the makers have announced that the regular shooting will resume from February, there is no update on the rest of the cast and crew working on the project. More details are expected to arrive soon.
Directed by Prithviraj Sukumaran, Lucifer starred Malayalam superstar Mohanlal in the lead role of a politician named Stephen Nedumballi. The film also had Vivek Oberoi, Manju Warrier, Sachin Khedekar, and several other actors on its ensemble cast.
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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