Emraan Hashmi starrer Mumbai Saga released in theatres in March this year. It was one of the few big Bollywood films that had hit the big screens after the pandemic. The film didn’t receive a great response at the box office, but Hashmi’s performance was appreciated.
In April this year, the theatres in India were once again shut due to the second wave of Covid-19 in the country. But now, once again things are getting better, and theatres in a few states have reopened.
So, Emraan is now gearing up for the release of Chehre which will be his second theatrical release during this pandemic.
While talking to PTI, Emraan said, "I am happy that theatres are opening up after a long gap. I am the only actor who has had two releases in this pandemic. Some might see it as a bold move others might see it as a stupid move. But the obsession with the box office of our industry should not be the case anymore, at least not right now. The rules have changed, the game has changed.”
"With box office, you never felt in control even before the pandemic, but it has become a bigger question mark with the situation today. A film might look entertaining but when you weigh your and your family's health, you might give it a pass because of the fear. So now no one really knows how it will pan out. Regulations are still there, Maharashtra has still not opened," the actor added.
Akshay Kumar starrer BellBottom became the first Bollywood film to release in theatres in India after the second wave of Covid-19.
While talking about it, Emraan said, "We should stop worrying and sweating about opening numbers, box office collections. Someone has to make a start, it has to be done in that spirit. Kudos to Akshay, the producers of Bell Bottom, for taking that initiative. Same goes for films like Roohi, Mumbai Saga. It was very important for these films to do that."
The actor also feels that the film industry and theatres are co-dependent. He said, "No one really knows how many people will come to the theatre but it has to be done with certain solidarity with theatre owners. There is synergy and dependency on them and vice versa. Film industry and theatres are both co-dependent.”
"OTT (over-the-top or digital platform) is always an option but the order of the day is that producers should understand there are thousands of livelihoods of not just theatre owners but distributors, their families as well. Doors should be opened," he added.
Directed by Rumy Jafry, Chehre also stars Amitabh Bachchan, Annu Kapoor, Krystle D'Souza, Drithiman Chakroborthy, Raghubir Yadav, Siddhanth Kapoor, and Rhea Chakraborty.
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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