After months of speculations, Emraan Hashmi has confirmed that things are not well between his uncles and filmmakers Mahesh Bhatt and Mukesh Bhatt.
Rumours about a split between the two filmmakers started floating around after Mukesh Bhatt rendered his resignation as Creative Consultant from Vishesh Films. The production house is known for delivering several musical hits over the years, including Aashiqui (1990), Dil Hai Ke Manta Nahi (1991), Sadak (1991), Raaz (2001), and Aashiqui 2 (2013).
Hashmi, who did not only begin his career with Vishesh Films but also headlined several other films made under the banner, told an Indian publication, “I have many fond memories of Vishesh Films. I just wish we all come back together to do a film. I do not know what the subject will be, though. All good things come to an end. Equations change. Nothing is permanent. And I am saying this without knowing the details of what has played out between them.”
The actor went on to add, “As far as I am concerned, I still talk to both of them. Mukeshji wished me before Mumbai Saga (2021). I am in touch with Mahesh Bhatt.”
He further stated, “We are family. I spoke to Bhatt saab (Mahesh Bhatt) through the lockdown. He is not only just a filmmaker for me but a wise man who has given me guidance. Things were getting confused during the lockdown and I needed his inputs on it.”
Meanwhile, Emraan Hashmi is waiting for the release of his much-awaited film Chehre. Written and directed by Rumy Jafry, the film also features Amitabh Bachchan in the lead role. Hashmi is working with the legendary actor for the first time in his career and is quite excited to share the screen space with him.
Apart from Chehre, Hashmi will also be seen in the official remake of the successful Malayalam film Ezra (2017), to be produced by T-Series and Panorama Studios. The film also stars The Big Bull (2021) fame actress Nikita Dutta in the lead role.
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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