The much-awaited trailer of Vicky Kaushal starrer Bhoot: The Haunted Ship has been released today. The trailer is intriguing but fails to scare us. The makers have been stating that their movie is the first of its kind horror film in India.
However, we cannot ignore that the trailer of the film has many clichés that we have been watching in Bollywood horror movies from the past many years.
A kid’s toy
From dolls to soft toys, we have watched many horror films where a kid’s toy plays a pivotal part in the narrative. Here also we get to see a doll in the trailer and the doll was shown in one of the posters as well.
A family-emotional angle
We have seen many horror and thriller films where the lead actor investigating the whole case has a sad story behind him. In Bhoot: The Haunted Ship, Vicky plays the role of a surveying officer and looks like he has lost his family.
A mirror scene
A horror movie is incomplete without a 'ghost in the mirror' scene. We have seen many movies where the lead actor or actress is looking in the mirror and the ghost appears in the mirror. Well, that scene is also there in Bhoot.
A ghost behind you
In most of the horror films, it is shown that an actor feels that there’s someone behind him but when he turns there’s no one. Then the ghost changes the direction and is exactly standing behind the actor. Well, there are multiple such scenes in the trailer of Bhoot: The Haunted Ship.
A couple will always reach a haunted place
This is one of the most clichéd things we have seen in Bollywood horror films. Most of the horror films showcase that a couple reaches the haunted place and then they die. In the trailer here, they have shown that a couple goes inside the ship and we know what’s going to happen next.
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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