Actor Emraan Hashmi was quite excited about venturing into film production with his maiden venture, Captain Nawab. Apart from bankrolling the project in association with Oddball Motion Pictures, the actor was also set to headline its cast. However, the latest we hear is that right after completing its first shooting schedule, the movie has run into trouble.
Emraan, who was last seen in Baadshaho, plays a double agent in the film, who represents both India and Pakistan. Things go awry when the rival countries find out about his betrayal.
Since the film is set against the backdrop of Indian and Pakistani armies and highlights the sensitive relationship both the countries share with each other, the ministry of defence has put the shoot on hold until it gives its go ahead.
Tony D’Souza, who is directing the project, confirms the news by saying, “Yes, we have sent the script to the Ministry of Defence. We are awaiting their clearance to proceed with the shoot. Anyone who makes a film on the army doesn’t do it with an intention to hurt anyone’s sentiment. We have a lot of respect for the Indian Armed Forces.”
Adding further, the director says, “We had finished our first schedule, but we will shoot portions of the film featuring the Indian Army now. So, we needed the Ministry to give us a No Objection Certificate. It should come either by the end of this month or in the first week of March. Then, we would be good to go.”
Captain Nawab marks the big Bollywood debut of actress Malvika Raaj who played the younger version of Kareena Kapoor Khan’s character in Karan Johar’s multi-starrer Kabhi Khushi Kabhie Gham.
Besides Captain Nawab, Emraan Hashmi will also be seen in Cheat India and a horror flick to be helmed by noted South Indian filmmaker, Jeethu Joseph. Joseph makes his Bollywood debut with the movie.
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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