Speculations were rife lately that the makers of the Amitabh Bachchan and Emraan Hashmi-starrer Chehre were planning to release the mystery thriller directly on a streaming media platform, forgoing a theatrical release. The latest news is coming in that they have already signed a lucrative deal with Disney+ Hotstar for the premiere of the film.
Sharing more details, a well-placed trade source informs an entertainment portal, “The makers of Chehre were already in talks with various OTT platforms for the release of their film. But Hotstar has won this race by shelling out a premium to acquire Chehre.”
Though there is no update on how much the streaming media platform has forked out to acquire the film, buzz has it that the amount is staggeringly high for a direct-to-digital release.
But the question remains: will Disney+ Hotstar manage to earn even close to what it has spent on buying the film? The source reasons, “See, Chehre has well-known names in its cast like Amitabh Bachchan and Emraan Hashmi. But apart from them, the film also features Rhea Chakraborty. Now given the scenario over the past couple of months anything remotely related to Rhea has been making headlines. Though it is rather brutal to say that monetary advantage is being taken of unsavoury truths, it is the harsh reality of business. Essentially, the OTT platform could be looking at the fact that since Chehre also stars Rhea Chakraborty, audience from across the spectrum will be drawn to watch the film for different motives.”
In addition to Amitabh Bachchan, Emraan Hashmi, and Rhea Chakraborty, Chehre also features popular television actress Krystle D’Souza in an important. She makes her Bollywood debut with the upcoming film. Chehre has been written and directed by Rumi Jaffery.
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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