Saaho has been one of the most-talked-about films of recent times. Even before the makers officially announced the project, it became the talk of the town simply because it starred Prabhas who became an international phenomenon after the humongous success of Baahubali: The Beginning (2015) and Baahubali: The Conclusion (2017).
Also starring Shraddha Kapoor and Neil Nitin Mukesh in lead roles, the big-budgeted venture is now nearing its theatrical release. And the latest we hear that there is a fierce competition amongst major TV channels and OTT platforms for procuring the rights of the action entertainer.
According to reports, all leading general entertainment channels have initiated the process to buy the satellite rights of the film. Talks are on between the major channels and the makers of the movie. Several streaming media giants have also entered the fray to secure the streaming rights of the year’s biggest release.
In a nutshell, Saaho has become a hot property which has started a war amongst TV channels and OTT platforms as everyone in the market is eyeing for its rights. Not just hefty amounts to procure the satellite and digital rights of the film, the makers have also received proposals for sequels and webseries.
The trailer of the movie was unveiled a couple of days ago, which received overwhelming response from the audience. The songs have also done amazingly well on various platforms. Looking at the terrific response all the content pieces from the movie have received so far, it can easily be said that Saaho is set for a massive business upon its release.
Saaho is slated to enter theatres on 30th August. Starring Prabhas, Shraddha Kapoor, Neil Nitin Mukesh in principal roles, the big-ticket film releases in Hindi, Tamil, and Telugu. The Sujeeth directorial is produced by UV Creations, while T-Series Films is presenting the Hindi version of the film.
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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