Fronted by Shilpa Shetty, Paresh Rawal, Meezaan Jaffrey and Pranitha Subhash, Hungama 2 is one of the eagerly awaited comedy films of 2021. As the title aptly suggests, it is the sequel to the hit comedy Hungama (2003), which had Akshaye Khanna, Paresh Rawal, Aftab Shivdasani, and Rimi Sen starring in leading roles.
The original plan was to release Hungama 2 in theatres. But keeping in mind the ongoing coronavirus situation and closure of theatres in several states across India, the team has decided to take the digital route. From what we hear, Disney+ Hotstar has acquired the digital rights to the much-awaited comic caper for a whopping price of 300 million Indian rupees (approximately £2,901,563).
Sharing more details, a source close to the development tells an online publication, “The comic-caper is sold to Disney+ Hotstar for ₹30 crores (approximately £2,901,563). However, this does not include satellite rights. While the exact figure for a TV premiere is not known yet, it is expected to be in the range of ₹6 to ₹8 crores (approximately £580,299 to £773,806), taking the total revenue to ₹36 crores (approximately £3,482,128).”
The source goes on to add that the film has received a premium price for music and other ancillary rights too, earning a good profit for all the stakeholders involved. According to the same report, Hungama 2 has been made on a budget of approximately £2,901,563 and the overall revenue the film has generated from all sources so far is pegged at around £4,354,087, which means the film has fetched a profit of approximately £967,542.
“The film is an ensemble of acclaimed actors, but none of them is a superstar and hence, Priyadarshan has been able to mount it on a big scale. The inside reports are fantastic with some calling it a laugh-a-thon,” the source shares, adding, “It is a sure shot winner, a vintage Priyadarshan comedy wherein humour stems from the screenplay.”
Keep visiting this space over and again for more updates and reveals from the world of entertainment.
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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