Rashmika Mandanna, who is a force to reckon with in the South Indian film industry, is gearing up to set her foot in Bollywood. She is set to make her Hindi film debut with the much-awaited spy thriller Mission Majnu.
Also starring Sidharth Malhotra in the lead role, Mission Majnu is based on true events. It revolves around the deadliest covert operation undertaken by the Indian intelligence agency RAW in Pakistan. The film went on floors a couple of weeks ago in Lucknow, India.
Rashmika Mandanna is currently stationed in Lucknow shooting for the film. The actress has been working hard to get into the skin of her character. She is leaving no stone unturned to make sure that her character shines on the screen and leaves an indelible impression on viewers’ minds whenever the film enters theatres.
Talking about her first day on the sets of Mission Majnu, a source close to the actress said, "On the first day itself, Rashmika broke the ice around her. Even though she was working with a new team, she made everyone comfortable in her company. She is a ball of energy on the sets, and everyone is very fond of her.”
The source went on to add further, “The cast and crew on sets also refer to her by her character's name which is hardly the case on any set. It is commendable how she has completely read the skin of her character right.”
Rashmika Mandanna is known for her powerful performances in such Telugu blockbusters as Sarrileru Neekevaru (2020), Dear Comrade (2019), and Geetha Govindam (2018). Not only her South Indian fans, but Bollywood buffs are also waiting for her first Hindi film with bated breath.
Directed by Shantanu Bagchi, Mission Majnu is being produced by RSVP Movies and Guilt By Association Media Llp.
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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