Well-known music composer and singer Bappi Lahiri, also known as "Disco King", passed away at CritiCare Hospital in Mumbai today. He was 69. His death comes less than a fortnight after music doyen Lata Mangeshkar breathed her last on February 6 at the age of 92.
"Lahiri had been admitted to the hospital for a month and was discharged on Monday. But his health deteriorated on Tuesday and his family called for a doctor to visit their home. He was brought to the hospital. He had multiple health issues. He died due to OSA (obstructive sleep apnea) shortly before midnight," Dr. Deepak Namjoshi, director of the hospital, told a newswire.
Lahiri's family released an official statement, informing that the funeral will take place after the arrival of his son Bappa Lahiri from the US tomorrow.
The official statement read, "It is a deeply sad moment for us. Our beloved Bappi Da has left for heavenly abode last midnight. The cremation will take place on the arrival of Bappa from LA tomorrow mid-morning. We are seeking love and blessings for his soul. We will keep you updated. Mrs. Lahiri, Mr. Gobind Bansal, Bappa Lahiri, and Rema Lahiri."
Bappi Lahiri, who popularised disco music in India in the 80s and 90s, delivered a string of memorable songs in several successful films of that era such as Namak Halaal (1982), Disco Dancer (1982), and Dance Dance (1987). His last Bollywood song titled "Bhankas" was for Tiger Shroff and Shraddha Kapoor's 2020 action film Baaghi 3.
His last onscreen appearance was with Salman Khan on Colors' popular reality show Big Boss 15.
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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