Actress Chitrangada Singh, who has been missing from the scene for quite some time now, is set to sizzle the silver screen once again. Last seen in Emmay Entertainment’s crime thriller Baazaar (2018) opposite Saif Ali Khan, the actress has been roped in to play the female lead in filmmaker Sujoy Ghosh’s upcoming production venture, titled Bob Biswas. The character of Bob Biswas was seen in Ghosh’s acclaimed thriller Kahaani (2012).
According to sources close to the team, Chitrangada has been signed on to star opposite Abhishek Bachchan in the movie, who will be seen in the title role of Bob Biswas. When Bachchan came onboard to headline the project, it was not known who would be his leading lady in the movie. The makers have now finalized Chitrangada Singh for the role.
While Kahaani was helmed by Sujoy Ghosh, the spin off will be directed by his daughter Divya Annapurna Ghosh. She will be making her feature film debut with the project. She has previously assisted his father on the Taapsee Pannu and Amitabh Bachchan starrer Badla which emerged as one of the most profitable films of 2019. Sujoy is co-producing the project with Shah Rukh Khan’s Red Chillies Entertainment.
Now, it is to be seen whether the makers will cast Vidya Balan in the spin off. In Kahaani, Vidya played the role of Vidya Bagchi, a pregnant woman who reaches Kolkata in search of her missing husband. Nawazuddin Siddiqui and Parambrata Chatterjee also played important roles in the film.
Meanwhile, news also has it that Chitrangada Singh is planning to roll out a sequel to her debut production venture Soorma (2018). Starring Diljit Dosanjh and Taapsee Pannu in lead roles, Soorma was a moderately successful sports film based on the life of well-known hockey player Sandeep Singh. If rumours are to be believed, Soorma 2 is in the works.
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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