Award-winning actor Dev Patel will soon be seen in visionary director Wes Anderson’s next directorial venture, The Wonderful Story of Henry Sugar, which is set to premiere at the 80th Venice Film Festival in September 2023.
The upcoming production, which will be an anthology film with a duration of 37 minutes, is an adaptation of Roald Dahl’s story from the 1977 collection known as The Wonderful Story of Henry Sugar and Six More.
Anderson has long been interested in adapting the collection of short stories. He has previously told a publication, “For years, I wanted to do Henry Sugar.”
The director had met Lindsay Dahl, the widow of the celebrated author, while he was shooting The Royal Tenebaums decades ago. “They set this story aside for me because I was friends with them,” he said. “Lindsay kind of handed the torch to Luke, Dahl’s grandson. So, I had this waiting for me. But I really couldn’t figure out the approach. I knew what I liked in the story was the writing of it, Dahl’s words. I couldn’t find the answer, and then suddenly I did. It’s not a feature film. It’s like 37 minutes or something.”
The official storyline of The Wonderful Story of Henry Sugar reads: “Chronicles a variety of stories but the main one follows Henry Sugar, who is able to see through objects and predict the future with the help of a book he stole.”
Aside from Patel, the upcoming short film will also feature Benedict Cumberbatch, Ralph Fiennes, Ben Kingsley, Rupert Friend, and Richard Ayoade in important roles.
Following its premiere at the 80th Venice Film Festival in September, The Wonderful Story of Henry Sugar will land on Netflix on October 13.
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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